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Acknowledgments
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Acknowledgments At the outset, this project looked like folly. It is thanks to many people, on many continents, and in many capacities that it has come to be a reality. To all of them I am deeply grateful. First and foremost, I offer heartfelt thanks to the men and women who shared their memories and stories with me. In the often harsh and crushing conditions of war-torn Angola, I never ceased to be amazed by the fact that men and women were eager to talk to me and patient with my queries. Indeed, they have given me something worth saying. Ohio University Press senior editor Gillian Berchowitz offered wise counsel and was patient in the face of my health issues and shifting revision schedules . Her input, together with that of the series editors, Allen Isaacman and Jean Allman, and the anonymous readers of the book manuscript, made this a stronger and feistier book. Paul Mahern, Michael Casey, and Daniel Reed at the Indiana University Archives of Traditional Music produced the master CD for the book, and John Hollingsworth painstakingly drew the maps. In Angola, Lopito Feijó helped secure permission to reproduce the music and album cover images. An earlier version of chapter 3 appeared in the International Journal of African Historical Studies. Before it appeared it profited from a reading by David Schoenbrun’s African Studies Graduate Seminar at Northwestern University in 2002 and a hearing at the Workshop on African Popular Music held at the University of California at San Diego on February 21, 2003, at the invitation of Benetta Jules Rossette. It received yet another reading at the University of Minnesota’s ICGC Gender Consortium in 2005. Rudolph Ware and his graduate seminar at Northwestern read and discussed the entire manuscript and gave me encouragement at a critical moment in May 2007. Several institutions and programs supported me and my research along the way. A University of Minnesota Department of History travel grant funded language study in summer 1995. The University of Minnesota Harold Leonard Memorial Film Study Grant and Fellowship funded ten months of Abbreviations w xiii You are reading copyrighted material published by Ohio University Press/Swallow Press. Unauthorized posting, copying, or distributing of this work except as permitted under U.S. copyright law is illegal and injures the author and publisher. predissertation research in 1997–98, and a University of Minnesota MacArthur Program grant supported dissertation research in Angola in 2000–2001. The Social Science Research Council’s Dissertation Fellowship on the Arts and Social Science generously funded more research in 2001–2. A Doctoral Dissertation Fellowship from the University of Minnesota Graduate School allowed me to write my dissertation without distraction. Finally, a Summer Faculty Fellowship from Indiana University and grants from the Project on African Expressive Traditions (POAET) and the Office of International Programs at Indiana University made possible further research in Portugal and Angola in the summer of 2005. At the University of Minnesota I profited from the direction and encouragement of professors Fernando Arenas, Amy Kaminsky, M. J. Maynes, John Mowitt, David Roediger, and Charlie Sugnet, and of Dr. Jim Johnson. In particular, my erstwhile advisers and current editors, Allen Isaacman and Jean Allman, helped me negotiate the worlds of academia and research. It would be difficult to find better mentors; their friendship and guidance have been priceless. Susan Geiger, a pioneering historian of African women and Tanganyikan nationalism, left an indelible mark on this book. Her confidence in me, along with Allen’s and Jean’s, often filled in for my own. I wish she were here to see this book. In Portugal, Jorge Murteira cheered me with his sense of humor, offers of a place to stay, and early morning rides from the airport. Edmundo Rocha and Franz-Wilhelm Heimer provided important contacts. Dra. Maria Lurdes Henriques facilitated my work with the PIDE materials at the Torre do Tombo. In Angola numerous people offered invaluable support. Dra. Rosa Cruz e Silva, the director of the Arquivo Histórico de Angola (Angolan Historical Archive), helped me negotiate the visa process. Dra. Maria Conceição Neto and Dra. Aurora Ferreira welcomed me and helped me find material. Indeed, São Neto suggested I look at music in the first place. She has been a constant source of insight and encouragement. All the staff at the Arquivo Histórico assisted me, despite the difficult conditions they often faced both in and outside the archive. In...