What Is Timothy Taylor's Strategic Inauthenticity?

In his chapter, “Strategic Inauthenticity”, Timothy Taylor discusses West African musician Angélique Kidjo’s use of popular music from the U.S. in her own music considered afropop. Taylor goes on to explain how Kidjo was drawn to the type of music she performs when she was a kid. “When she was a kid, Kidjo used to hear her brothers’ rock band practicing” she would also hear “the drums outside” and “was in between both” (Taylor 137). This blend of sound guided the sound she has in her music. Along with her desire for positive social change she has been able to create unique music that is both ‘catchy’ and meaningful. However, despite her desire to create music of western traditions she has been keen to include certain traditions of her culture such as singing in her native language fon. …show more content…
Branford Marsalis, a saxophonist who played two solos on Kidjo’s album, believes Kidjo had been “duped by her ‘Aye’ producers, Will Mowat, producer of ‘Soul II Soul’ and David Z” (Taylor 139). This criticism bothers Kidjo who says, “there is a kind of cultural racism going on where people think African musicians have to make a certain kind of music” (Taylor 140). This type of criticism of Kidjo, according to Taylor is partially correct. However, despite this criticism Taylor suggests that Kidjo’s “music is more complex than her detractors would have it” and describes how “more traditionally African approaches to rhythm and phrasing are evident” (Taylor 140). Even though her music has a very western style it is seemingly more ‘African’ than the untrained ear can