Abstract
This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro-internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities. A diasporic perspective in the study of modern African music helps Africa reclaim its rightful place in the history of world music and saves Africans from unnecessary cultural anxieties about losing their musical ‘authenticity’ by borrowing from ‘Western’ music that appears, on closer inspection, to be diasporan African music.
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