这是我们在2017年为美国纽约圣约翰大学的客户创作的一篇关于黑人文化研究 black study的essay，全文800字，以The Significance of A Composite Scholarly Framework为题，Based on the Analysis of the African Popular Culture，这篇文章要求作者大量阅读相关文献，必须在充分掌握大量相关知识之后才能进行创作。下面节选片段给大家展示。
The African popular culture is interpreted in the narrow and the broader sense which not only refers to something in the spiritual or conceptual levels including music, painting, dance, drama, literature, religions, customs, etc., but also enables people to define African cultural value, model it and further explore the emotional concepts, sensations and value systems inhabited from their forefathers for generations. The interrogations of the serious questions about how to define the popularity of culture, what is the connotation of the popular culture as well as the ideas of Africa have always never been ceased among the public. Therefore, to take the composite scholarly framework to analyze current situations, historical factors, cultural formulations, etc. of the African popular culture shows its significance.
At first, based on the reality that the majority of African countries have shown their particularity in the process of cultural modernization that not only inherits its traditional tribe features but also is influenced by the western colonization, in terms of popular culture, Johannes Fabian gives people more constructive suggestions to learn African popular culture, which deserves to make an in-depth exploration. He first emphasizes that the contemporary African cultural expressions are usually thought of as the remarkable signs carried by the masses in contrast to both modern elitist and traditional tribal cultures (Fabian 315), which to some extent reveal its social-cultural milieus. On one hand, the African specific historical experiences are closely linked with the changes of the current situation and the international environments. On the other hand, because there are so many countries in Africa but differ in their cultures, added with the influences of the cultural anthropology, dynamic changes as well as modernization theories and practices, all of which together influence its cultural complexity implying its possible challenges “to accept beliefs in the superiority of the pure or high culture but also to the notion of folklore” (315).
Besides, Fabian also argues that “historical conditions characterized by mass communication, mass production and mass participation” (315). However, in the process of African cultural conflict and cultural collision, unlike China whose popular culture is an internalizing process, the African popular culture features the outstanding characteristics of westernization showing its complexity, uniqueness as well as specializations, all of which together to consistently lead modern people to qualify those concepts from a variety of disciplinary perspectives, covering culture, social development, economics, anthropology, history, etc. Therefore, popular cultures should “occur behind the back of established powers and accepted interpretations” (315). However, throughout the African history in the 19th century, various cultures and political thoughts all went with the strong “authenticity” also called “nationality” or “national color”. For a relevant historical periods, the African intellectual elites and political elites held their opinions towards relations between culture and development staying in the theoretical perspectives and limited in the cultural field. It is safe to say that “authenticity” has constructed the main voice of the modern African popular culture. However, it is a pity that the endeavors of the African cultures in their process of modernization to some extend have been completely eliminated by this rebellion of this so-called “nationality”. The previous politicians, ideologists and theorists who either had their stronger emotional colors upon this cultural issues or were based upon their own political thoughts and political needs, did not handle the cultural changes issues properly.
In addition, as I mentioned at the beginning , the study of Africa popular cultures is more than as a simple thing; but it is should be based on the well-established theoretical paradigm on popular culture and public cultures, including visual arts, social sciences, arts, literature, etc. having shaped the dynamic array of the African residents, cities, religions and even global communities and furthering displaying its intricate strands and eclectic mixes in the development of African popular culture. Meanwhile, through referring to the Africa world, it deserves more readers to know more that under influences of the media and technology, people have already transformed their focuses upon the popular culture itself to the sub-cultural and counter-public or youth-driven attitudes towards the cultural development, in which the post-colonial cultural issues, national crisis, people’s spiritual struggles, plights, achievements are mixed together.
To sum up, people should attach their great importance to the significance of a composite scholarly framework on the Analysis of the African popular culture, which will show the public a different but novel definition of the popular culture.