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Purple Hibiscus
1 A GLOSSARY OF IGBO WORDS, NAMES AND PHRASES Taken from the text: Purple Hibiscus by Chimamanda Ngozi Adichie Appendix A: Catholic Terms Appendix B: Pidgin English Compiled & Translated for the NW School by: Eze Anamelechi March 2009 A Abuja: Capital of Nigeria—Federal capital territory modeled after Washington, D.C. (p. 132) “Abumonye n'uwa, onyekambu n'uwa”: “Am I who in the world, who am I in this life?”‖ (p. 276) Adamu: Arabic/Islamic name for Adam, and thus very popular among Muslim Hausas of northern Nigeria. (p. 103) Ade Coker: Ade (ah-DEH) Yoruba male name meaning "crown" or "royal one." Lagosians are known to adopt foreign names (i.e. Coker) Agbogho: short for Agboghobia meaning young lady, maiden (p. 64) Agwonatumbe: "The snake that strikes the tortoise" (i.e. despite the shell/shield)—the name of a masquerade at Aro festival (p. 86) Aja: "sand" or the ritual of "appeasing an oracle" (p. 143) Akamu: Pap made from corn; like English custard made from corn starch; a common and standard accompaniment to Nigerian breakfasts (p. 41) Akara: Bean cake/Pea fritters made from fried ground black-eyed pea paste. A staple Nigerian veggie burger (p. 148) Aku na efe: Aku is flying (p. 218) Aku: Aku are winged termites most common during the rainy season when they swarm; also means "wealth." Akwam ozu: Funeral/grief ritual or send-off ceremonies for the dead. (p. 203) Amaka (f): Short form of female name Chiamaka meaning "God is beautiful" (p. 78) Amaka ka?: "Amaka say?" or guess? (p. -
1 Beyond the Economic Impetus For
BEYOND THE ECONOMIC IMPETUS FOR MIGRATION: PRE-MIGRATION COGNITIONS, SUBJECTIVITIES, AND OCCIDENTALISMS IN THE AFRICAN POSTCOLONY By FELICIA CHIGOZIE ANONYUO-NWAENYI A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 © 2009 Felicia Chigozie Anonyuo-Nwaenyi 2 I dedicate this dissertation to Africa that was and will be, and to all who work for her good; to my son, Augustine Chidubem Nwaenyi, my guiding light, Peaceful River without foe, the calm voice in the middle of the storm; to my mother, Susanna Ozuzuaku Anonyuo, teacher of harmony and dignity, everywoman; to the memory of my father and ancestor, Samuel Igboabuchukwu Anonyuo, eternal sage; to my Heavenly Father, His Son, Jesus Christ, and His Holy Spirit whose Love and Grace have shielded and yoked me forever. 3 ACKNOWLEDGMENTS I doubt that I can adequately acknowledge everyone that contributed to the realization of my objectives for this research project, and must therefore state upfront that the names and parties mentioned here are not representative of those who deserve credit for their unconditional and selfless support for this project. I crave the indulgence of my unacknowledged benefactors. My eternal gratitude to Dr. Faye V. Harrison who consistently cheered me on and said yes from start to finish, through trying and tranquil moments, through thick and thin. To have an advisor who never rides the high horse and never demands an appointment, who knows how to hold back her encyclopedic knowledge to make mine important, who has stayed up past midnight working with me over the phone to get a document draft just right, who is ready to share her wisdom and lend a helping hand anytime and anywhere, is to be uniquely blessed. -
African Music Vol 6 No 3(Seb)
16 JOURNAL OF INTERNATIONAL LIBRARY OF AFRICAN MUSIC NOTES ON MUSICAL INSTRUMENTS AMONG THE FULANI OF DIAMARE (NORTH CAMEROON) by VEIT ERLMANN I. Introduction The Central Sudan, enclosing the northern parts of the Cameroons and Nigeria, South-Niger and parte of Chad, has been viewed by different scholars under various aspects as one coherent area sharing certain cultural traits. Some of these are due to the impact of Islam during the past 500 years: town-culture, feudal social hierarchy, class distinctions, and literacy. The impact of Islam is strongest among the Hausa, Fulani1, Kanembu, Kanuri, Manga, Kotoko, and Shoa Arabs. For more than five centuries there has been a constant flow of economic, social and cultural exchange between these groups which also left its traces in the musical culture. Ethnomusicology does not seem to have focused very much on this area2, the Hausa being in fact the only ethnic group whose musical culture can be said to have been thoroughly explored3. Kanuri, Manga, and Shoa music are almost unknown, while the musical cultures of the Kanembu and Kotoko received at least some attention in few articles and casual record notes4. As for the Fulani of Cameroon some records exist 5, but no written information on their music is available. Hence, this paper attempts to give a general account of the musical organology of the Fulani in North Cameroon and to contribute to the completion of ethnomusicological knowledge in this area6 through the presentation of new material and the basic facts of Fulani organology (names of instruments and their parts, social usage, history). -
Muhammad, Sharu
FEMALE PRAISE SINGERS IN NUPELAND: A FORMALIST STUDY OF FATIMA LOLO BIDA AND HAWAWU KULU LAFIAGI’S SELECTED SONGS BY MUHAMMAD, SHARU DEPARTMENT OF ENGLISH AND LITERARY STUDIES, FACULTY OF ARTS, AHMADU BELLO UNIVERSITY ZARIA. NOVEMBER, 2016 i FEMALE PRAISE SINGERS IN NUPELAND: A FORMALIST STUDY OF FATIMA LOLO BIDA AND HAWAWU KULU LAFIAGI’S SELECTED SONGS BY MUHAMMAD, SHARU BA (1992) UDUS, MA (2008) ABU (Ph. D/ARTS/1986/2011–2012) NOVEMBER, 2016 ii FEMALE PRAISE SINGERS IN NUPELAND: A FORMALIST STUDY OF FATIMA LOLO BIDA AND HAWAWU KULU LAFIAGI’S SELECTED SONGS MUHAMMAD, SHARU (Ph. D/ARTS/1986/2011–2012) A Thesis Presented to the Post Graduate School, Ahmadu Bello University, Zaria, in Partial Fulfillment of the Requirements for the Award of the Degree of Doctor of Philosophy (Ph.D) in English (Literature) Department of English and Literary Studies, Faculty of Arts, Ahmadu Bello University, Zaria. November, 2016 iii DECLARATION I hereby declare that this thesis has been written by me, and it is a record of my own research work. It has not been submitted in any previous application of a higher degree. All quotations are indicated and the sources of information are suitably acknowledged by means of references. ------------------------------------------- Sharu Muhammad ------------------------------------------ Date iv CERTIFICATION This thesis, entitled “Female Praise Singers in Nupeland: A Formalist Study of Fatima Lolo Bida and Hawawu Kulu Lafiagi‟s Selected Songs” by Sharu Muhammad meets the regulations governing the award of the degree of Doctor of Philosophy in Literature of the Ahmadu Bello University, Zaria, and is approved for its contribution to knowledge and literary presentation. -
Original Paper Nollywood: Indigenous Culture, Interculturality, and The
Communication, Society and Media ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) Vol. 3, No. 1, 2020 www.scholink.org/ojs/index.php/csm Original Paper Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen Samba DIOP1* 1 Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway * Samba DIOP, Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway Received: October 30, 2019 Accepted: November 12, 2019 Online Published: December 12, 2019 doi:10.22158/csm.v3n1p12 URL: http://dx.doi.org/10.22158/csm.v3n1p12 Abstract Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerians. Local languages are used in these films; however, English is the most prominent, along with Nigerian pidgin broken English. Many themes are treated in these films: tradition and customs, religion, witchcraft and sorcery, satire, urban and rural lives, wealth acquisition, consumerism, etc. I discuss the ways in which American popular culture is adopted in Nigeria and recreated on screen. -
Hemispheres Studies on Cultures and Societies Vol. 30, No. 3
Institute of Mediterranean and Oriental Cultures Polish Academy of Sciences Hemispheres Studies on Cultures and Societies Vol. 30, No. 3 NIGERIA Wydawnictwo Naukowe ASKON Warszawa 2015 Editor-in-Chief Board of Advisory Editors JERZY ZDANOWSKI GRZEGORZ J. KACZYÑSKI OLA EL KHAWAGA Subject Editor MARIUSZ KRANIEWSKI ABIDA EIJAZ HARRY T. NORRIS English Text Consultant STANIS£AW PI£ASZEWICZ STEPHEN WALLIS EVARISTE N. PODA Secretary MARIA SK£ADANKOWA SABINA BRAKONIECKA MICHA£ TYMOWSKI This edition is prepared, set and published by Wydawnictwo Naukowe ASKON Sp. z o.o. ul. Stawki 3/1, 00193 Warszawa tel./fax: (48) 22 635 99 37 www.askon.waw.pl [email protected] © Copyright by Institute of Mediterranean and Oriental Cultures, Polish Academy of Sciences, Warsaw 2015 PL ISSN 02398818 ISBN 9788374520874 HEMISPHERES is published quarterly and is indexed in ERIH PLUS, The Central European Journal of Social Sciences and Humanities, ProQuest Database and Index Copernicus Contents Nkem O k o h, Translation as Validation of Culture: The Example of Chinua Achebe ....................................................................................... 5 Khalid I m a m, Justice, Fairness and the Quest for an Egalitarian Society in Africa: A Reading of Bukar Usmans Select Tales in Taskar Tatsuniyoyi: Littafi na Daya Zuwa na Goma Sha Hudu [A Compendium of Hausa Tales Book One to Fourteen] ....................................................21 Ibrahim Garba Satatima, Hausa Oral Songs as a Cultural Reflexive: A Study on Some Emotional Compositions ................................................33 -
An Analysis of Theta Role of Verbs in Hausa Ali Umar Muhammad Dissertation Submitted in Partial Fulfillment of the Requirments F
AN ANALYSIS OF THETA ROLE OF VERBS IN HAUSA ALI UMAR MUHAMMAD DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIRMENTS FOR THE DEGREE IN MASTER OF LINGUISTICS FACULTY OF LANGUAGES AND LINGUISTICS UNIVERSITY MALAYA KUALA LUMPUR 2014 UNIVERSITY MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Ali Umar Muhammad (Passport N0: A04059610) Registration/Matric N0: TGC 120080 Name of Degree: Master of Linguistics Title of Project Paper/ Research Report/ Dissertation/ Thesis (“thi Work”) AN Analysis of Theta Role of Verbs in Hausa Field of Study: Syntax I do solemnly and sincerely declare that: (1) I am sole author/writer of this work; (2) This Work is original; (3) Any use of any work in which copyright exists was done of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of marking this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. -
122 Pment” Ibadan: 88. Parable Logy As A: Koly MUSIC AND
Drama as a Tool for Social Commentary: An Example of Alex Asigbo’s ... MUSIC AND DEMOCRACY: A TALE OF NATURE AND CONTRIVANCE Odiri, Solomon E “Theatre in Nigeria and National Development” African Arts and National Development Sam Ukala ed Ibadan: Chukwuemenam E. Umezinwa Kraft Books, 2006. 251-260. Soyinka Wole: Opera Wonyosi Ibadan: Spectrum Books, 1988. Utoh-Ezeajuh, Tracie. “Dramatizing a People’s History as a Parable Abstract for a Nation in Search of Peace: Alex Asigbo’s Duology as Regarding music and democracy, one is likely to ask: what has Paradigm.” Theatre Experience. Vol 2 No 1. Onitsha: Koly a goldfish in common with the canary? Or what has Athens got to Computer House, 2003. 10-17. do with Jerusalem? In grouping the disciplines according to university curriculum of studies, music is the queen of the arts while democracy as a system of governance has a better footing in the social sciences. Without prejudice to whatever we hold dear concerning these two conceptual entities, this article casts more than a cursory glance at the two, to find out if there are truths that might be of interest while we advance the cause of each. The starting point is to consider the nature of their origins, their purposes and the experiences they nurture. The findings are revealing. Music is as old as man and so, assumes the status of a necessary human good. Democracy as a recent human invention and being fraught with an endemic pursuit of selfish interests of individuals and nations, can, at its best, be a necessary evil. -
Online Bibliography of Chadic and Hausa Linguistics
Online Bibliography of Chadic and Hausa Linguistics PAUL NEWMAN Online Bibliography of Chadic and Hausa Linguistics compiled by PAUL NEWMAN 1. INTRODUCTION The Online Bibliography of Chadic and Hausa Linguistics (OBCHL), henceforth the ‘biblio’, is an updated, expanded, and corrected edition of the bibliography published some fifteen years ago by Rüdiger Köppe Verlag (Newman 1996). That biblio was built on valuable earlier works including Hair (1967), Newman (1971), Baldi (1977), R. M. Newman (1979), Awde (1988), and Barreteau (1993). The ensuing years have witnessed an outpouring of new publications on Chadic and Hausa, written by scholars from around the globe, thereby creating the need for a new, up-to-date bibliography. Data gathered for this online edition, which was compiled using EndNote, an excellent and easy to use bibliographic database program, have come from my own library and internet searches as well as from a variety of published sources. Particularly valuable have been the reviews of the earlier bibliography, most notably the detailed review article by Baldi (1997), the Hausa and Chadic entries in the annual Bibliographie Linguistique, compiled over the past dozen years by Dr. Joe McIntyre, and the very useful list of publications found regularly in Méga-Tchad. The enormous capacity afforded by the internet to organize and update large-scale reference works such as bibliographies and dictionaries enables us to present this new online bibliography as a searchable, open access publication. This Version-02 is presented in PDF format only. A goal for the future is to make the biblio available in database format as well. 2. -
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time. -
Development of Materials for a One Year Course in African Music for the General Undergraduate Student
DOCUMENT RESUME ED 045 042 24 HE 001 879 AUTHOR Butcher, Vada E.; And Others TITLE Development of Materials for a One Year Course in African Music for the General Undergraduate Student. Final Report. INSTITUTION Howard Univ., Washington, D.C. SPONS AGENCY Office of Education (DHEW) , Washington, D.C. Bureau of Research. BUREAU NO PR-6-1779 PUB DATE Sep 70 CONTRACT OEC0-8-061779-2821 NOTE 242p. FDRS PRICE. 7rRs Price MF-$1.00 HC-$12.20 DESCRIPTORS. *African American Studies, *A.Erican Culture, *Curriculum Development, Curriculum Guides, *Higher Education, Instructional Materials; *Music, Music Education, Undergraduate Study IDENTIFIERS *Africa ABSTRACT The major objective of the Project in African Music at Howard University was to develop materials for a course in African music designed for General Education curricula in institutions of higher education. The project was expanded to include the development of materials on African-derived music and to make the materials adaptable for use in secondary schools. The report includes background!of the study, methods of collecting and developing materials, workshops and pilot courses, and results of the educational evaluation report sent to all workshop participants. Appendix A lists the collection of African traditional instruments gathered from Nigeria, Ghana, and Uganda. Appendix B includes materials developed by the project. The workshop program, auestionnaires, questionnaire recipients, and a press release conclude the report. (AF) 1,e e- 77(7 e,9 2_ id FINAL REPORT Project No. 6-1779 Contract No. 0-8-061779-2821 DEVELOPMENT OF MATERIALS FOR A ONE YEAR COURSE IN AFRICAN MUSIC FOR THE GENERAL UNDERGRADUATE STUDENT (PROJECT IN AFRICAN MUSIC) by Veda E. -
Jacqueline Cogdell Djedje Collection
http://oac.cdlib.org/findaid/ark:/13030/c81n8029 No online items Finding Aid for the Jacqueline Cogdell DjeDje Collection September 1972 - April 1976 Processed by . Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ © 2012 The Regents of the University of California. All rights reserved. Finding Aid for the Jacqueline 2004.17 1 Cogdell DjeDje Collection September 1972 - April 1976 Descriptive Summary Title: Jacqueline Cogdell DjeDje Collection , Date (inclusive): September 1972 - April 1976 Collection number: 2004.17 Creator: Jacqueline Cogdell DjeDje Extent: 6 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dissertation Research on Hausa and Dagamba recorded in Sokoto, Nigeria; Kano, Nigeria ; Legon, Ghana ; Los Angeles, California ; Kaduna, Nigeria ; Yendi, Ghana ; etc. Non-dissertation related research also included. Preferred Citation [Identification of item], Jacqueline Cogdell DjeDje Collection, 2004.17, Ethnomusicology Archive, University of California, Los Angeles. Series 1. Dissertation Research on Hausa and Dagamba Music Subseries 1. Original Master Reels Box 1>, Item Haruna Oji (Gurma) 1974-02 2004.17_omr001 Creator/Collector: J. C. DjeDje Publisher: Kano, Nigeria Physical Description: Original Master Reel 001: 1 sound tape reel: sd.; 1/4 in x 5 in reel. Scotch 175 Superlife, 600ft. Side 1: 3.75 IPS Stereo. Scope and Content Note Haruna Oji (Gurma) 1. Kwana Lfiya 2. Maidaura Jikan Abdu Note Dubbing from Kano Ministry of Information, Kano, Nigeria. From Hausa and Dagbamba Music Collection. Box 1>, Item Instrumental Hausa Music 1974-02 2004.17_omr002 Creator/Collector: J.C.