Abstract
This essay examines the role of music in twentieth-century Africa–China relations by analyzing musical performances' contribution to the production and circulation of knowledge about Africa in China through musical imagination. Drawing on archival and multimedia sources, this essay focuses on the figure of Zhu Mingying—an influential Chinese musician in the twentieth century—as a case study to analyze how African imagery is deployed and circulated in music making and marketing practices in China, as well as its implications for developments in Africa–China relations. This essay contributes to a growing body of scholarship on Africa–China relations that addresses the humanistic as opposed to popular metanarratives of trade, aid, security, and investment.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
