Published literature

Acquaye, Saka. 1971. ‘Modern Folk Opera in Ghana’. African Arts 4(2), 60-63.

Agawu, Kofi. 2001. ‘Chaka: An Opera in Two Chants’. Research in African Literatures 32(2), 196-98.

André, Naomi. 2018. Black Opera: History, Power, Engagement. Urbana: University of Illinois Press.

André, Naomi. 2016. ‘Carmen in Africa: French Legacies and Global Citizenship’. The Opera Quarterly 32(1), 54-76.

André, Naomi, Karen M. Bryan and Eric Saylor, eds. 2012. Blackness in Opera. Urbana: University of Illinois Press.

Aspden, Suzanne, ed. 2018. Operatic Geographies: The Place of Opera and the Opera House. Chicago: University of Chicago Press.

Beier, Uli. 1954. ‘Yoruba Folk Operas’. African Music 1(1), 32-34.

Bynum, Leon James. 2010. ‘Malcolm, Who Have You Been?: Musicalizing the Relationship Between Malcolm X and Elijah Muhammad in X, The Life and Times of Malcolm X’. Souls: A Critical  Journal of Black Politics, Culture, and Society 12(1), 55-68.

Cheatham, W.M. 1997. Dialogues on Opera and the African-American Experience. Maryland: Scarecrow Press.

Chybowski, Julia. 2006. ‘The “Black Swan” in England’. American Music Research Center Journal 14, 8-25.

Collins, John E. 1976. ‘Comic Opera in Ghana’. African Arts 9(2), 50-57.

Davies, James and Lindiwe Dovey. 2010. ‘Bizet in Khayelitsha: U-Carmen eKhayelitsha as Audio-Visual Transculturation’. Journal of African Media Studies 2(1), 39-53.

Davies, Sheila Boniface and James Q. Davies. 2012. ‘“So Take This Magic Flute and Blow. It Will Protect Us As We Go”: Impempe Yomlingo (2007-11) and South Africa’s Ongoing Transition’, The Opera Quarterly 28(1-2), 54-71.

Duro-Ladipo, Abiodun and Gbóyèga Kóláwolé. 1997. ‘Opera in Nigera: The Case of Duro Ladipo’s Oba Kòso’. Black Music Research Journal 17(1), 101-29.

Eidsheim, Nina Sun. 2011. ‘Marian Anderson and “Sonic Blackness” in American Opera’, American Quarterly 63(3), 641-71.

Eoan History Project. 2013. Eoan: Our Story. Johannesburg: Fourthwall Books.

Euba, Akin. 2003. ‘Concept of Neo African Music as Manifested in Yoruba Folk Opera’, in The African Diaspora: A Musical Perspective, ed. Ingrid Monson. New York: Routledge, 207-41.

Euba, Akin. 1989. ‘My Approach to Neo-African Music Theatre’, in Essays on Music in Africa: Intercultural Perspectives, Vol. 2. Lagos and Bayreuth: Elékóto Music Centre and Bayreuth African Studies, 73-113.

Fallon, Robert. 2006. ‘Music and the Allegory of Memory in Margaret Garner’. Modern Fiction Studies 52(2), 524-542.

Fourie, William. 2015. ‘Heart of Redness by Neo Muyanga’. Muziki 12(2), 99-103.

Graziano, John. 2015. ‘Race and Racism’, in The Oxford Handbook of Opera, ed. Helen Greenwald. Oxford: Oxford University Press, 754-73.

Graziano, John. 2000. ‘The Early Life and Career of the “Black Patti”: The Odyssey of an African American Singer in the Late Nineteenth Century’, Journal of the American Musicological Society 53(3), 543-96.

Giere, Samuel D. 2016. ‘Mark Dornford-May: Transposing the Classic’, in The Bible in Motion: A Handbook of the Bible and its Reception in Film: Part 1, ed. Rhonda Bletsch. Berlin: De Gruyter, 721-28.

Gobbato, Angelo. 2018. A Passion for Opera. Auckland Park: Staging Post.

Guarracino, Serena. 2015. ‘Africa as Voices and Vibes: Musical Routes in Toni Morrison’s Margaret Garner and Desdemona.’ Research in African Literatures 46(4), 56-71.

Gutkin, David and Marti Newland. 2015. ‘H. Lawrence Freeman and the Harlem Renaissance’. American Music Review: The H. Wiley Hitchcock Institute for Studies in American Music 45(1), 1-6.

Gutkin, David. 2019. ‘The Modernities of H. Lawrence Freeman’. Journal of the American Musicological Society 72(3), 719-779.

Ingraham, Mary I., Joseph K. So and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge.

Jennings, La Vinia Delois. 2016. Margaret Garner: The Premiere Performances of Toni Morrison’s Libretto. Charlottesville: University of Virginia Press.

Karantonis, Pamela and Dylan Robinson, eds. 2011. Opera Indigene: Re/Presenting First Nations and Indigenous Cultures. Farnham: Ashgate.

Kernodle, Tammy. 1999. ‘Arias, Communists, and Conspiracies: The History of Still’s Troubled Island’. The Musical Quarterly 83(4), 487-508.

King, Patrick. ‘All That Jazz: Musical Idiom, Critical Reception, an African American Narrative in Opera’, in Text & Presentation, 2013, ed. Graley Herren. Jefferson, NC: McFarland and Co., 140-157

Kodat, Catherine Gunther. 2008. ‘Margaret Garner and the Second Tear’. American Quarterly 60(1), 159-171.

Matzke, Christine, Lena van der Hoven, Christopher Odhiambo and Hilde Roos. 2020. African Theatre 19: Opera and Music Theatre. Woodbridge: Boydell & Brewer.

Mhlambi, Innocentia J. 2016. ‘Winnie: The Opera and Embodying South African Opera’. African Studies 75(1), 1-9.

Mhlambi, Innocentia J. 2015. ‘The Question of Nationalism in Mzilikazi Khumalo’s Princess Magogo kaDinuzulu (2002)’. Journal of African Cultural Studies 27(3), 294-310.

Murchison, Gayle. 2012. ‘New Paradigms in William Grant Still’s Blue Steel’, in André, Naomi, Karen M. Bryan and Eric Saylor, eds. 2012. Blackness in Opera. Urbana: University of Illinois Press, 141-163.

Needham, Maureen. 2002. ‘Kykunkor, or The Witch Woman: An African Opera in America, 1934’, in Dancing Many Drums: Excavations in African American Dance, ed. Thomas F. De Frantz. Madison: University of Wisconsin Press, 233-66.

Nii-Dortey, Moses N. 2015. ‘Folk Opera and the Cultural Politics of Post-Independence Ghana: Saka Acquaya’s The Lost Fishermen’, in The Politics of Heritage in Africa: Economies, Histories, and Infrastructures, eds. Derek R. Peterson, Kozo Gavua, and Ciraj Rassool. Cambridge: Cambridge University Press, 222-33.

Ngqungwana, Musa. 2018. Odyssey of an African Opera Singer. Cape Town: Penguin Books.

Ogunjobi, Oluseyi. 2014 ‘The Creative Development, Importance, and Dramaturgy of Duro Lapido’s Oba Kò So’, in Syncretic Arenas: Essays on Postcolonial African Drama and Theatre for Esiaba Irobi, ed. Isidore Diala. Amsterdam: Rodopi, 291-318.

Olsen, Andrew. 2012. ‘Mozart’s African Jacket: Die Zauberflöte and its Localisation in The Magic Flute (Impempe Yomlingo)’. Journal of the Musical Arts in Africa 9(1), 67-80.

Omojola, Bode. 2004. ‘Yoruba Opera’, in Understanding Yoruba Life and Culture, eds. Nike Lawal, Matthew N.O. Sadiku and P. Ade Dopamu. Trenton, NJ: African World Press, 633-49.

Pistorius, Juliana. 2019. ‘Inhabiting Whiteness: The Eoan Group La Traviata, 1956’. Cambridge Opera Journal 31(1), 63-84.

Pistorius, Juliana. 2019. ‘Predicaments of Coloniality, or, Opera Studies Goes Ethno’. Music & Letters 100(3), 529-539.

Pistorius, Juliana. 2017. ‘Eoan, Assimilation, and the Charge of “Coloured Culture”’, SAMUS: South African Music Studies 36/37, 389-415.

Pistorius, Juliana. 2017. ‘Coloured Opera as Subversive Forgetting’, Social Dynamics: A Journal of African Studies 43(2), 230-42.

Powrie, Phil. 2007. ‘A Postcolonial Carmen (Ramaka 2001)’, in Carmen on Film: A Cultural History, eds. Phil Powrie, Bruce Babington, Ann Davies, and Chris Berriam. Bloomington: Indiana University Press.

Roos, Hilde. 2019. The La Traviata Affair: Opera in the Age of Apartheid. Berkeley: University of California Press.

Roos, Hilde. 2016. ‘Briewe aan ‘n diva: die verswyging van gay-identiteit in Gordon Jephtas se briewe aan May Abrahamse’ (Letters to a diva: the concealment of gay identity in the letters of Gordon Jephtas to May Abrahamse). Litnet Akademies 13(1), 31-55.

Roos, Hilde. 2015. ‘Eoan—Our Story: Treading New Methodological Paths in Music Historiography’. Historia 60(2), 185-200.

Roos, Hilde. 2014a. ‘Remembering to Forget the Eoan Group—the Legacy of an Opera Company from the Apartheid Era’. South African Theatre Journal 27(1), 1-18.

Roos, Hilde. 2014b. ‘Probing the Boundaries of Opera as Notated Practice in South Africa: The Case of Eoan’. Muziki 11(2), 79-88.

Roos, Hilde. 2012. ‘Indigenisation and History: How Opera in South Africa Became South African Opera’. Acta Academica Supplement 1, 117-155.

Schmalenberger, Sarah. 2006. ‘Debuting Her Political Voice: The Lost Opera of Shirley Graham’. Black Music Research Journal 26(1), 39-87.

Soll, Beverly. 2005. I Dream a World: The Operas of William Grant Still. Fayetteville: The University of Arkansas Press.

Somma, Donato. 2016. ‘“Just Say the Words”: An Operatic Rendering of Winnie’. African Studies 75(1), 32-47.

Somma, Donato and Neo Muyanga. 2016. ‘“The Musical Thread”: Neo Muyanga on Opera and South Africa’. African Studies 75(1), 74-97.

Stolp, Mareli. 2016. ‘Van Opera tot “Politopera”? Nuwe Strominge in Suid-Afrikaanse Operakomposisie en -Resepsie’. Litnet Akademies 13(1), 138-160.

Story, Rosalyn M. 1990. And So I Sing: African-American Divas of Opera and Concert. New York: Warner.

Tsou, Judy. 2015. ‘Composing Racial Difference in Madama Butterfly: Tonal Language and the Power of Cio-Cio San’, in Rethinking Difference in Music Scholarship, eds. Olivia Bloechl, Melanie Lowe and Jeffrey Kallberg. Cambridge: Cambridge University Press, 214-37.

Turner, Kristen. 2015. ‘Class, Race, and Uplift in the Opera House: Theodore Drury and his Company Cross the Color Line’, Journal of Musicological Research 34(4), 320-351.

Viljoen, Santisa and Marita Wenzel. 2016. ‘The Same, Yet Different: Re-Encoding Identity in U-Carmen eKhayelitsha’. Journal of the Musical Arts in Africa 13(1/2), 53-70.

Viviers, Etienne and Mareli Stolp. 2016. ‘‘n Gesprek oor Suid-Afrikaanse Opera: Etienne Viviers Gesels met Mareli Stolp’. Litnet.

Wheeler, Maurice B. 2018. ‘An Unlikely Champion: Rudolf Bing and the Demise of Jim Crow at the Metropolitan Opera’. Notes 75(2), 207-236.

Worley, Ben. 2018. ‘Harry Lawrence Freeman: Pioneering the African American Grand Opera’. Journal of Singing 75(1), 17-24.

Zenenga, Praise. 2015. ‘The Total Theater Aesthetic Paradigm in African Theater’, in The Oxford Handbook of Dance and Theater, ed. Nadine George-Graves. New York: Oxford University Press, 236-51.