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Sound Recordings

Call for papers: Special issue of Sources. Materials & Fields in African Studies

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Information

Guest Editors

Charlotte Grabli, CNRS, Centre d’histoire sociale des mondes contemporains

Aïssatou Mbodj-Pouye, CNRS, Institut des mondes africains

Timeline for authors

  • Abstract submission deadline: 10 February 2026 (read below, “Submission of proposals”)
  • Notification of acceptance: 15 March 2025
  • Receipt of articles: 15 June 2026
  • Publication: 2027

Submission of proposals

Proposal summaries should be 500 to 800 words long and may be written in French, English, or Portuguese. In accordance with the journal’s editorial policy, we invite authors to include in their abstract a brief presentation of the materials that will be the focus of the article and to indicate specifically the possibilities and conditions for disseminating these sources in open access (on the journal’s website, via external links, in what format, with what degree of openness, etc.).

Proposals must be accompanied by a separate document in French and/or English indicating the author’s name, institutional affiliation and a short biography (200 words max.), as well as 10 keywords maximum.

Proposals should be sent in Word format by email to charlotte.grabli@cnrs.fr and mbodj@cnrs.fr , copying in the journal’s editorial team: sources@services.cnrs.fr

Before submitting your article, please check that it complies with the journal’s editorial policy:
https://journals.openedition.org/sources/162

The journal’s review process and expectations can be found here:
https://journals.openedition.org/sources/383

Articles must be submitted in accordance with the journal’s standards:
https://journals.openedition.org/sources/382

Presentation

This issue of Sources ambitions to bring together multiple disciplinary perspectives on one or more sound sources produced in Africa. Whether issued from old collections or produced today, audio materials are attracting growing interest in African studies, particularly thanks to the promotion by institutions, researchers, activists and artists of forgotten or difficult-to-access sound and audiovisual collections. Recorded since the late 19th century, these sound objects are extremely diverse: linguistic material, songs and music, field recordings, radio archives, commercial records, film soundtracks, recordings of trials, political speeches, sermons, cassette letters, digital voicemails, etc. Their circulation has increased with the possibilities for duplication offered by cassette technology, and even more so with the digital revolution. Audio recording is also often one of the tools available to social science researchers, and sound objects have become part of the range of objects collected during fieldwork. However, the specificities of the sonic nature of these materials are rarely questioned. Particularly in the case of African and diasporic contexts, it is important to develop methods of listening and analysing that can grasp the multidimensional nature of recordings, the power relations and forms of agency that mark the processes of production, circulation and archiving.

Interest in sound sources varies from one discipline to another. Anthropology, ethnomusicology, ethnolinguistics, and African history, which rely on oral sources, have long considered recording to be a simple technical instrument. In this context, orality tended to be defined as something already constituted, ready to be recorded. The reflexive feedback that animates these fields (Bornand and Leguy 2008; Western 2018) has since contributed to problematising the idea of authentic orality (Hofmeyr 1995). It is now accepted that what is captured in a recording may be the result of a reading based on a script, inspired by written documents, or derived from spaces already woven with references to the media.

Questions about sound sources have been profoundly renewed by research on recording cultures, listening behaviours and sound environments (Sterne 2015; Bull 2019; McEnaney 2019), even though the African continent and diaspora remain underrepresented in this work (Olivier 2022; Radano and Olaniyan 2016). In the multidisciplinary field of sound studies, which focuses on sound rather than music or speech, work on African contexts highlights the need to study the specificities of relationships with sound, listening practices and the circulation of sound technologies, questioning the relevance of analytical approaches developed in the North (Steingo 2019; Livermon 2008; Newman and Sacks 2023). It should be noted that this renewed interest in sound-related themes does not necessarily involve the analysis of audio archives; studies demonstrate the heuristic value of a “sound” reading of colonial archives and literature (Hunt 2024; Charles 2023). This dossier therefore aims to contribute to the development of dialogue between African studies and recent social science research on sound and listening, and thus to present the challenges posed specifically by sound sources in the history of Africa.

Questioning recordings beyond their content alone involves reflecting on the social practices and processes that shaped them, while raising methodological questions that may also be central to the contributions. Furthermore, African sound archives are not always held on the continent, and regardless of their location, the question of “who they are intended for” (Guillebaud 2024) is crucial and raises questions about the challenges of past and present archiving projects, including their strictly material dimension (e.g. the state of preservation of tapes and the durability of digital media). This reflection on the history, current status and future of sound archives takes place in a context where digital technology is reconfiguring the relationship with archives in general, increasing possibilities for recirculation and remediation, for example through artistic projects.

We propose four areas of reflection to inform the proposals.

Collecting practices and recording contexts

To which collection or discographic series do sound archives belong? For the colonial period, it is essential to continue documenting the extractivist dimensions of scientific collections, carried out during expeditions to Africa, but also in prisoner-of-war camps or during colonial exhibitions in Europe (Ajotikar and van Straaten 2021; Van den Avenne 2024; Gérard 2014; Hoffman 2024). The study of these materials immediately raises the question of power relations and negotiations that unfold on the recording scene: who was in charge of preparing the recording space, organising the speeches or performances? What elements challenged the will and ideology of the actors behind the initiative? What do we know about the relationships between the recorder and the recorded, the power relations and economic exchanges that shape them, the choices in terms of socio-technical devices and the representations associated with them, the necessary linguistic mediations, and the misunderstandings that could arise? In order to reconstruct and analyse these scenes, contributions may explore the relationship between sound material and its accompanying documentation (field notes, correspondence, catalogues, brochures, photographs, etc.).

Alongside field recordings, the record disc industry developed and generated unprecedented mobility (Denning 2015). For example, artists from Nigeria travelled to London to record at Zonophone in the 1920s (Matera 2015); many musicians travelled to the record capitals of Cairo, Johannesburg and Leopoldville (Kinshasa), which developed over the following decades. Analysing access to sound reproduction technologies and the circulation they generate, at different scales, should contribute to the history of studios (Meintjes 2003; Feld 2012; Olivier and Pras 2022) and the record industry, which has been little studied to date (Tournès 2002).

Less well documented, the 1960s and 1970s stand out as a key moment in African sound production. Decolonisation brought the idea of collection to the fore, with the sounds collected being used to promote the languages and cultural expressions of post-colonial nations keen to rewrite their history. Initiatives were launched on various scales, sometimes involving several African states. This is the case of the Centre for Linguistic and Historical Studies through Oral Tradition (CELHTO), created in Niamey and taking over from a centre established in 1968 in connection with UNESCO’s project for a general history of Africa; or of the Oral Archives of the Gambian National Centre for Arts and Culture in Fajara. Based on collection work begun in the 1960s it preserves both the archives of foreign researchers and materials produced by Gambian agents (Ceesay 2018). How were collecting campaigns carried out, and what recording practices were developed? What place did the collected materials have in the discotheques of radio stations, national record companies (Bertho 2020), or even in the repertoire of national ballet companies (Djebbari 2019)?

Issues of dissemination: from the performer to the community

The second theme of this issue concerns the stakes of dissemination for the people who were recorded and access to opportunities of sound reproduction. The immediate and sometimes unexpected impact of the commercialisation or broadcasting of a record on the lives of performers has received little attention from researchers. Contributions may examine the fame that makes musicians, journalists, or actors emerge from the margins, changing their lifestyle, or even settling in another country (Gunner 2019; Gahungu 2019; Leyris 2002; Grabli 2023). Speaking on the radio is also a way to make a name for oneself, whether it helps to establish a reputation or poses risks (Brisset-Foucault 2019; Dave 2022). It is not uncommon for recordings to be publicly condemned or to find themselves at the centre of legal proceedings (Parker 2015). Considering the issues surrounding broadcasting also involves exploring the question of exploitation and the difficulty of accessing copyright. In addition to well-known cases such as the conflict over Disney’s The Lion Sleeps Tonight and its South African author Solomon Linda (Erlmann 2022), we must also consider the phenomenon of piracy (Röschenthaler and Diawara 2016), which exploded with the advent of cassette technology (Larkin 2008), depriving certain artists of income and, as a result, of their independence from political power.

Beyond the performers, what social effects do the narratives and representations conveyed by recordings have? At the level of a city, a nation, or the Black Atlantic, how do records, accompanying texts and visual elements forge communities on the continent (Moorman 2008; Kelley 2012; Fair 2001), and in diasporas, as in the case of North African music in Paris and Marseille in the 1950s (Ben Boubaker 2024; Miliani 2015; Silver 2022)? In this regard, it is also important to consider the often lasting fixation of racial and gendered imaginaries (Kheshti 2015), as well as the capacity of music, and particularly voices, to transform social subjectivities and gender norms within African societies (Barber 2009; Diawara 1996) and in the diaspora (Ciucci 2022; Clouet 2019).

Considering the evolution of sound technologies since the 1970s, as well as the increasing portability and decreasing costs of equipment up to the current digital regime, it is also important to acknowledge the individual and collective dynamics of appropriation of sound reproduction and dissemination. We are particularly interested in recordings (from cassette letters to digital voice recordings) circulated within family, community or activist spaces, which may be subject to forms of grassroots heritage preservation.

Thinking and writing research through sound

Today, sound is frequently used as a method of investigation and a means of disseminating research to the widest possible audience (Feld and Brenneis 2004; Samuels et al. 2010). Working with artistic or non-artistic objects, researchers from all disciplines invite musicians to interpret old sound sources (Van den Avenne 2024), their own field recordings (Bitter 2023), or even musical scores. For example, the Musical Project invited contemporary ensembles to interpret 17th-century scorescentury to imagine and understand how enslaved and freed people in Jamaica played music, and then share the recordings on a website (Caton 2020). Recovering old materials, often held in research institutions located in the Global North or with limited access (Lobley 2022), necessarily raises the question of restitution and approaches to memory and reparation, whether it be the restitution of ethnomusicological recordings to the communities concerned, or the restoration of audio documents, such as those from Nelson Mandela’s trial in 2016.

Other research focuses on collaborative forms of listening (playback) inspired by Steven Feld’s (2012; 2015) work on “acoustemology,” i.e. the way of knowing, being in the world and perceiving places through sound. Following a sensory ethnology approach, Battesti and Puig (2020), for example, conducted several surveys using participants’ auditory perception, asking them to record their daily journeys and then comment on what they heard. Sound recording in urban environments can also contribute to the study of invisible struggles between businesses or churches that use amplification, or modes of sociocultural distinction through acoustics, volume, silence, or even languages (Hirschkind 2006; Lambertz 2017; Luyckfasseel 2023).

Finally, it is interesting to analyse the field of documentary sound writing, which has been embraced by a variety of actors as a flexible format conducive to experimentation. Their approaches to sound incorporate a reflection on dramaturgy and care (for the interviewee, speech, and environment) (Dujardin and Tulipe 2022a and b), which is very different from that governing ethnological field recordings. The aim here is to understand the sound documentary techniques used by researchers who now have training in creative sound practices. The goal is to report on a major renewal in social science writing, both related to and distinct from work on sound sources.

Listening postures and methodologies

In order to provide a toolkit to offer guidance to those who are engaged in listening to audio documents, some contributions may offer insights into listening modalities, even though our attention is unevenly equipped and our emotions and perceptions as researchers are socially constructed and biased (McEnaney 2020; Sterne 2015).

Language issues are central here. Audio archives produced on the African continent are often multilingual, either directly, because a recording features several languages, or because a collection brings together recordings in various languages; or indirectly, if the recording is in one language and the written documentation in another. The question of transcription is compounded here by that of translation, and the skills required to do so, which are sometimes rare. The methods used to document multilingual corpora raise difficult questions about what is useful to provide for reading, and in which language, alongside listening to a source. Conversely, not understanding a language may require developing an awareness of the non-linguistic elements of speech, the sound environment, and the noises generated by the recording, which may suggest the value of listening in groups, with different equipment.

Collaborative listening increasingly brings together researchers and their interlocutors. Listening can also be plural in the sense of developing several levels of listening. Protocols such as the one developed for the history of sound theatre demonstrate the value of such an approach (Mervant-Roux 2013). Contributions may include reflections on the initial configuration of the recording, the initial reception horizon, and the noticeable differences between past and present listening experiences. Situating the recording in the technical, commercial, scientific, and artistic contexts in which it was produced and distributed helps to avoid the illusion of a fully audible and comprehensible past. The diversity of the social worlds shaping audio also emerges from an analysis of the work carried out on texts (interpretation, transcription, translation, etc.) and images (drawings, photographs, paintings, etc.) on covers, brochures, or documents produced during listening sessions and conferences to support the audio narrative.

* * *

In keeping with the journal Sources’s editorial line, contributors are invited to share sources or highlight the interest of a collection. They are encouraged to consider from the outset the “sound rendering” of their article, the genealogy of the source or corpus presented (audio file on its original medium, reissue, digitised file, etc.) and the conditions of access and reproduction.

The question of whether or not to publish the analysed document(s) online will raise ethical questions about the partial or complete sharing of an audio document, for which the issue of anonymisation arises in a specifc way (whereas the media use voice transformations to prevent recognition, these forms of blurring do not seem to be common in the social sciences).

The document(s) presented may include recordings encountered/found in an archive collection or other distribution channels, as well as materials produced by contributors. Depending on the chosen focus, it will be possible to combine or explore one or other of these perspectives in greater depth:

Starting with a recording from an archive or collection, a first step will be to elucidate the recording situations and their immediate or longer-lasting effects. A second possible approach will be to explain the analytical value of an audio source by showing how it is listened to and studied (whether or not it is transcribed, what type of transcription is used, etc.) and how it reveals information that other types of sources do not. Finally, articles may examine a source by questioning its circulation and reuse (artistic, documentary, activist, etc.).

Similarly, questions surrounding a document produced by contributors may focus on issues related to its production (technical realisation, approach and reflective feedback on the circumstances of a recording), its analysis and the chosen modes of its dissemination.

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