New Books In African Studies

In 2010, for the first time, an African nation hosted the FIFA World Cup. The advertisements surrounding the tournament used graphics and sounds intended to conjure the image of a vibrant, exotic land. In fact, though, the African-ness of the South African World Cup was pretty thin, when not wholly fabricated. For example, the music that introduced ESPN’s World Cup coverage sounded very African, as it opened with the sounding of an ox horn (the promo showed a bare-chested tribesman blowing the horn atop a mountain, silhouetted against the setting sun) and then built with pulsing drums and a choir singing layered refrains. But the piece had been written by a composer from Utah, the musicians had recorded it in Utah, and the choir consisted of members of the Broadway cast of The Lion King. At least Shakira’s ubiquitous song “Waka Waka (This Time for Africa)” had a more substantial African connection. It had been lifted, initially without credit, from a Cameroonian military song made popular in the 1980s by the