Chris Bolsmann's guest appearances

Chris Bolsmann

New Books in African Studies

Soccer History USA Podcast

New Books Network

New Books in Sports

Amy Bass

Chuck Korr

Thomas Dunne

Peter Alegi

Jimmy Carter

McKenzie Wark

Leslie M. Harris

Steve Bloomfield

Brian Greene

Palgrave Macmillan

Kathryn Conrad

Alberto Cairo

J. Neuhaus

Paul Darby

Peter Lang

OwlTail

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... Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

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... Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>Support our show by becoming a premium member! <a href="https://newbooksnetwork.supportingcast.fm/sports" rel="nofollow" target="_blank">https://newbooksnetwork.supportingcast.fm/sports</a>

Peter Alegi and Chris Bolsmann (editors), “Africa’s World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Space” (University of Michigan Press, 2013)

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 group Golden Sounds.The ironies of the 2010 tournament in South Africa are revealed in a number of essays in Africa’s World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Space (University of Michigan Press, 2013), edited by Peter Alegi and Chris Bolsmann. In the interview with Peter, we learn of the findings and observations of the volume’s contributors: an international collection of anthropologists, architectural critics, bloggers, geographers, sociologists, journalists, photographers, and former players who all attended matches in South Africa. They make sharp criticisms of class divides at the venues, the nationalism and commercialism, and, of course, the imperial reach of FIFA. But as we hear from Peter, the book’s authors were also fans. When mixing with other fans outside the stadiums, and then cheering their teams when the matches began, even normally skeptical academics and journalists were caught up in the event. Their experiences show that, for all its faults, the FIFA World Cup is still an incomparable event. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/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 <a href="http://www.youtube.com/watch?v=BHymWkgDOyk" rel="nofollow" target="_blank">1980s by the group Golden Sounds</a>. The ironies of the 2010 tournament in South Africa are revealed in a number of essays in <a href="https://www.press.umich.edu/4038158/africas_world_cup" rel="nofollow" target="_blank">Africa’s World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Space </a>(University of Michigan Press, 2013), edited by <a href="http://history.msu.edu/people/faculty/peter-alegi/" rel="nofollow" target="_blank">Peter Alegi</a> and <a href="http://www1.aston.ac.uk/lss/staff-directory/bolsmannc/" rel="nofollow" target="_blank">Chris Bolsmann</a>. In the interview with Peter, we learn of the findings and observations of the volume’s contributors: an international collection of anthropologists, architectural critics, bloggers, geographers, sociologists, journalists, photographers, and former players who all attended matches in South Africa. They make sharp criticisms of class divides at the venues, the nationalism and commercialism, and, of course, the imperial reach of FIFA. But as we hear from Peter, the book’s authors were also fans. When mixing with other fans outside the stadiums, and then cheering their teams when the matches began, even normally skeptical academics and journalists were caught up in the event. Their experiences show that, for all its faults, the FIFA World Cup is still an incomparable event. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>Support our show by becoming a premium member! <a href="https://newbooksnetwork.supportingcast.fm/african-studies" rel="nofollow" target="_blank">https://newbooksnetwork.supportingcast.fm/african-studies</a>