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Evolution of Sheng During the Last Decade
Les Cahiers d’Afrique de l’Est / The East African Review 49 | 2014 Varia Evolution of Sheng during the Last Decade Aurélia Ferrari Electronic version URL: http://journals.openedition.org/eastafrica/340 Publisher IFRA - Institut Français de Recherche en Afrique Printed version Date of publication: 1 September 2014 Number of pages: 29-54 ISSN: 2071-7245 Electronic reference Aurélia Ferrari, « Evolution of Sheng during the Last Decade », Les Cahiers d’Afrique de l’Est / The East African Review [Online], 49 | 2014, Online since 07 May 2019, connection on 08 May 2019. URL : http:// journals.openedition.org/eastafrica/340 Les Cahiers d’Afrique de l’Est / The East African Review Les Cahiers d’Afrique de l’Est Evolution of Sheng during the Last Decade Aurélia Ferrari Introduction Sheng, popularly deined as an acronym for “Swahili-English slang” (Mazrui, 1995), emerged in the 1960s in the multicultural environment of Nairobi. It is an urban language which combines mainly Kiswahili and English but also other Kenyan languages such as Kikuyu, Luyha, Dholuo and Kikamba. Sheng is characterized by an important linguistic lexibility. It does not have an oficial status even if it widelyis spoken, especially by the youth. Originally used as a vehicular language between people from different regions, it is becoming a vernacular language, some people born in the 1980s or later having Sheng as their irst language. Sheng is not a unique linguistic phenomenon in Africa. In the last ifty years, urbanization and globalization have prompted the emergence of new urban linguistic codes. Such codes are based on multilingual speech and characterized by unstable vocabulary. -
The Influence of Internal and External Factors Affecting the Kenya Film Industry
THE INFLUENCE OF INTERNAL AND EXTERNAL FACTORS AFFECTING THE KENYA FILM INDUSTRY BY ESTHER N. NGUMA UNITED STATES INTERNATIONAL UNIVERSITY-AFRICA SUMMER, 2015 THE INFLUENCE OF INTERNAL AND EXTERNAL FACTORS AFFECTING THE KENYA FILM INDUSTRY BY ESTHER N. NGUMA A Project Report Submitted to the Chandaria School of Business in Partial Fulfillment of the Requirement for the Degree of Masters in Business Administration (MBA) UNITED STATES INTERNATIONAL UNIVERSITY-AFRICA SUMMER, 2015 STUDENT’S DECLARATION I, the undersigned, declare that this project is my original work and has not been submitted to any other college, institution or university other than the United States International University in Nairobi for academic credit. Signed: _________________________________ Date: _____________________ Esther Nguma (Student ID: 639858) This proposal has been presented for examination with my approval as the appointed supervisor. Signed: _________________________________ Date: _____________________ Dr. George Achoki Signed: _________________________________ Date: _____________________ Dean, Chandaria School of Business ii COPYRIGHT All rights reserved. No part of this research project may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise without the prior permission of the author. ©Copyright Esther N. Nguma, 2015 iii ACKNOWLEDGEMENT I acknowledge my Supervisor, Dr. George Achoki for his continued guidance and intellectual support throughout the undertaking of this research, may God bless him immeasurably. I also owe an appreciation to the various Film producers of the 30 Film Production Houses that granted me the permission to collect data. I am grateful to my father – Humphrey Nguma and mother - Lucy Nguma for being my backbone during the process. -
The Asian-African Film Connection: Cross-Cultural SPECIAL COLLECTION: the ASIAN-AFRICAN Imaginaries, Shared FILM CONNECTION
The Asian-African Film Connection: Cross-Cultural SPECIAL COLLECTION: THE ASIAN-AFRICAN Imaginaries, Shared FILM CONNECTION Sources, Parallel Histories RESEARCH LINDIWE DOVEY KATE TAYLOR-JONES *Author affiliations can be found in the back matter of this article ABSTRACT CORRESPONDING AUTHOR: Kate Taylor-Jones This Dossier is inspired by two urgent needs in Film and Screen Studies, particularly University of Sheffield, GB within the UK context, but also globally – the need to transform the content of what k.e.taylor-jones@sheffield. we research and teach, and the need to transform the methodologies through which ac.uk we research and teach. The articles presented here emerged out of “The Asian- African Film Connection” workshop held at SOAS University of London in July 2018 – an event specifically designed to bring UK-based African and Asian film scholars into KEYWORDS: conversation with one another, to explore cinematic sources, themes and aesthetics Film Studies; Media Studies; that both link and divide these two regions. Asia; Africa; Decolonising; Methodologies TO CITE THIS ARTICLE: Dovey, L and Taylor-Jones, K. 2021. The Asian-African Film Connection: Cross-Cultural Imaginaries, Shared Sources, Parallel Histories. Open Screens, 4(1): 1, pp. 1–10. DOI: https://doi.org/10.16995/os.37 Dovey and Taylor-Jones Open Screens DOI: 10.16995/os.37 2 INTRODUCTION Screen Studies. The choice to focus on UK-based scholars was due to financial constraints as we were working on a Within all academic disciplines, a vast percentage shoestring budget at this time, and we should note that of scholarly works and popular debate still oscillates there were other UK-based scholars who work on Asian exclusively around an Anglo-American, European and African cinemas that we would have loved to invite framework, while parading as universal. -
An Investigation of the Applicability of Susan
AN INVESTIGATION OF THE APPLICABILITY OF SUSAN NAPIER’S JAPANESE ANIMATION (ANIME) ‘GENRE CLASSIFICATION MODEL’ IN KENYAN ANIMATION FAITHSANDRA NEKHONGA MASIBO (BA) M66/28937/2013 A RESEARCH PROJECT SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF MASTER OF ARTS (FILM STUDIES) IN THE SCHOOL OF CREATIVE AND PERFORMING ARTS, FILM AND MEDIA STUDIES OF KENYATTA UNIVERSITY. MAY, 20TH 2019. DECLARATION I declare that this Research Project is my original work and has not been presented for a degree or award in any other University. Faithsandra Nekhonga Masibo, BA. M66/28937/2013 Signature: ………………….…… Date: ……………….……… SUPERVISOR This Research Project is submitted for review with our approval as university supervisor(s). Prof. John Mugubi Signature: ………………………. Date: ………………………. ii DEDICATION To Elizabeth and Protus Masibo, Lilian, Francis and Wilma. iii ACKNOWLEDGMENT First and foremost, I acknowledge my supervisor Prof. John Mugubi for his tireless effort in shaping this report through insightful readings, positive criticism and encouragement. I will forever be deeply indebted to him. I also recognize Sara Masese and all my friends and colleagues at the Department of Film and Theatre Arts and the larger School of Creative Arts, Film and Media Studies, Kenyatta University, with whom we walked this journey. I appreciate you. I also benefitted immensely from the following and who I shall always remain obliged to: Dr. Rosemary Nyaole and Mr. Norman Shitote for your scholarly insight; Mark Njoroge, Ng’endo Mukii and Andrew Kaggia for the animation productions studied in this report and availed personal insight on Kenyan Animation films as a whole. Special mention also goes to Francis Welle, Kevin Arianda, Elisabeth Shabouk and Hellen Musira and her family for the support offered throughout this program. -
Creative and Cultural Disciplines in Higher Education and Industry in Kenya
3 Creative and Cultural Disciplines in Higher Education and Industry in Kenya This chapter is an analysis of the creative and cultural industries activities or courses in the target universities, the creative and cultural disciplines at two levels in the institutions of higher learning: as a subject and as an activity which gives rise to, for example, music students and student musicians, as much as art students and student artists. Where the two thrive side by side, it is thanks to an enabling environment created through policy and practice, the former covering curricular provisions, and the latter recognising the role of the (mostly) performing arts in the life of the institution. The chapter then explores case studies of the selected institutions of higher learning in order to establish a clearer understanding of the practice(s) therein. The Creative and Cultural Disciplines The rapid growth of university education has opened access to higher education for Kenyan youths. With the start of self-sponsored programmes, the delinking of university admission from bed-space and the high output of high school graduates ready to take up space in higher education, there has been scope for expansion of the disciplines on offer. Whereas the arts were first introduced in higher education as components of teacher education curriculum, they have today grown to take their space as stand-alone areas of qualification. The public universities have sustained music and theatre as elements of student cultural activities, so that even universities that do not teach either of the subjects present students at both national music and drama festivals. -
Contemporary East African Cinema: Emergent Themes and Aesthetics
Contemporary East African Cinema: Emergent Themes and Aesthetics A thesis submitted to the University of Sydney in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Art History and Film Studies School of Literature, Art and Media Faculty of Arts and Social Sciences Cindy Evelyn Magara 2020 Statement of Originality This thesis is, to the best of my knowledge and belief, my own original work. It contains no material previously published or written by another person except as otherwise duly acknowledged in the text and notes. Research for this thesis was based on primary texts—films and interviews of the filmmakers—and secondary sources. The University of Sydney Human Ethics Committee approved the protocol of interviewing East African filmmakers. All the participants consented to be identified. Cindy Evelyn Magara 2020 i Table of Contents Abstract iv List of Acronyms v Acknowledgements vii Dedication ix Chapter One: East African Cinema—Background and Conceptual Framing 1 Introduction ---------------------------------------------------------------------------------------------------- 1 The History and Legacy of Colonial Film in East Africa ---------------------------------------------- 7 Factors for the Growth of the Film Industries in the 2000s ----------------------------------------- 15 Industry Dynamics: Film Production and Funding, Regulation and Distribution and its Impact on Aesthetics-------------------------------------------------------------------------------------------------- 22 Funding and Regulation -
Pastoralist Settlement and the Anthropogenic Savannah: the Archaeo-Ecology of Maili Sita, Kenya
Pastoralist Settlement and the Anthropogenic Savannah: the archaeo-ecology of Maili Sita, Kenya. Oliver J. C. Boles Institute of Archaeology University College London Ph.D 2017 Funded by the AHRC, UCL Graduate School, UCL Institute of Archaeology and the British Institute in Eastern Africa 1 I, Oliver Boles, confirm that the work presented in this dissertation is my own. Where information has been derived from other sources, this has been indicated in the text. 2 Abstract Pastoralism has long been regarded difficult subject matter for archaeology, particularly in eastern Africa. Ephemeral settlements are presumed to leave little physical residue, such that reconstructions of pastoralist ethno-histories have relied on often-vague distributions of material culture. Cultural-stratigraphic approaches are limited in their capacity to explore the lifeways and social dynamics behind material expressions. As a consequence, our knowledge of how herding spread into the region and the historical development of the specialised stock-keeping communities seen today is hindered by a methodological incapacity to address what are arguably the fundamental drivers of pastoralist daily experience: mobility and landscape ecology. This dissertation argues that the interaction of these two elements provides the foundation for pastoralist economics, politics and culture. Movement around the savannah, ostensibly in response to the needs of livestock, not only shapes herders’ social interactions and experiences of environment, but also leaves a physical impact on those landscapes. While built structures may not survive archaeologically, this dissertation discusses how settlement, however temporary, affects local ecology in ways that endure and might be ‘read’ as a proxy record of herders’ presence and practices. -
IN FOCUS: Studying African Cinema and Media Today Introduction
IN FOCUS: Studying African Cinema and Media Today Introduction by ABOUBAKAR SANOGO, editor here has seldom been a more propitious and exciting moment to study African cinema and media than today. The current confi guration of the object referred to by the phrase “African cinema and media” and the discourses that seek to account for it, surround it, and in some cases make it visible are best perceived Tas being under the sign of the multiple. This indeed is the age of the proliferation of objects and a multiplication of discourses that seek to keep pace with developments in a fi eld in perpetual motion. The debates that rage in African cinema and media encompass the fi elds of the theoretical, the historiographic, and the critical, and indeed include the question of the articulation of the cultural, the political, and the economic. Chief among them (this is a nonexhaus- tive compendium) is arguably the question of the identity of the object (What, to paraphrase Stuart Hall, are the “cinema” and the “media” in African cinema and media? What is the “African” in Af- rican cinema and media?).1 These questions lead to the problem of naming: How should the object be referred to? African fi lm/cinema studies? Media studies? Screen studies? Moving-image studies? Screen media studies?2 The advent of Nollywood and the question of the status of video add both complexity and uncertainty regarding the object. Is Nollywood cinema or video? Movie or fi lm? What is this 1 This author started elaborating aspects of the present synthesis of strains of debates in African cinema following the “Semaphores and Surfaces” conference on African cinema held at Princ- eton University on November 1–3, 2013—co-organized by Wendy Belcher and Beatriz Leal Riesco and featuring several scholars of African cinema and media. -
Open My Dissertation.Pdf
The Pennsylvania State University The Graduate School College of the Liberal Arts FROM TRICKSTER TO BADMAN TO “GANGSTA”: GLOBALIZING THE BADMAN MYTHOFORM IN HIP-HOP MUSIC A Dissertation in Comparative Literature by Mich Yonah Nyawalo © 2012 Mich Yonah Nyawalo Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2012 The dissertation of Mich Nyawalo was reviewed and approved* by the following: Thomas A. Hale Edwin Erle Sparks Professor of African, French, and Comparative Literature Dissertation Adviser Chair of Committee Sophia A. McClennen Professor of Comparative Literature, Spanish and Women’s Studies Jonathan P. Eburne Associate Professor of Comparative Literature and English Jennifer Boittin Associate Professor of French, Francophone Studies, and History Gabeba Baderoon Associate Professor of Women’s Studies and African Studies Aaron L. Rosenberg Research Professor Centro de Estudios de Asia y África El Colegio de México Special Member Caroline D. Eckhardt Professor of Comparative Literature and English Head of the Department of Comparative Literature *Signatures are on file in the Graduate School. ii Abstract While a vast amount of hip-hop scholarship has focused on the proliferation of rap music within contemporary national contexts, little research has been conducted on the ways in which rappers have capitalized transnationally on each other’s national histories and folklore in their music. As a counterpoint to this dominating presentism in current hip-hop scholarship, my project analyzes how the mythological figures of the trickster and the badman, key characters in numerous African-American traditional narratives, have dramatically influenced the modes through which authenticity and notions of communal agency have shaped hip-hop in the United States, France, and Kenya. -
LCSH Section K
K., Rupert (Fictitious character) Homology theory Ka nanʻʺ (Burmese people) (May Subd Geog) USE Rupert (Fictitious character : Laporte) NT Whitehead groups [DS528.2.K2] K-4 PRR 1361 (Steam locomotive) K. Tzetnik Award in Holocaust Literature UF Ka tūʺ (Burmese people) USE 1361 K4 (Steam locomotive) UF Ka-Tzetnik Award BT Ethnology—Burma K-9 (Fictitious character) (Not Subd Geog) Peras Ḳ. Tseṭniḳ ʾKa nao dialect (May Subd Geog) UF K-Nine (Fictitious character) Peras Ḳatseṭniḳ BT China—Languages K9 (Fictitious character) BT Literary prizes—Israel Hmong language K 37 (Military aircraft) K2 (Pakistan : Mountain) Ka nō (Burmese people) USE Junkers K 37 (Military aircraft) UF Dapsang (Pakistan) USE Tha noʹ (Burmese people) K 98 k (Rifle) Godwin Austen, Mount (Pakistan) Ka Rang (Southeast Asian people) USE Mauser K98k rifle Gogir Feng (Pakistan) USE Sedang (Southeast Asian people) K.A.L. Flight 007 Incident, 1983 Mount Godwin Austen (Pakistan) Ka-taw USE Korean Air Lines Incident, 1983 BT Mountains—Pakistan USE Takraw K.A. Lind Honorary Award Karakoram Range Ka Tawng Luang (Southeast Asian people) USE Moderna museets vänners skulpturpris K2 (Drug) USE Phi Tong Luang (Southeast Asian people) K.A. Linds hederspris USE Synthetic marijuana Kā Tiritiri o te Moana (N.Z.) USE Moderna museets vänners skulpturpris K3 (Pakistan and China : Mountain) USE Southern Alps/Kā Tiritiri o te Moana (N.Z.) K-ABC (Intelligence test) USE Broad Peak (Pakistan and China) Ka-Tu USE Kaufman Assessment Battery for Children K4 (Pakistan and China : Mountain) USE Kha Tahoi K-B Bridge (Palau) USE Gasherbrum II (Pakistan and China) Ka tūʺ (Burmese people) USE Koro-Babeldaod Bridge (Palau) K4 Locomotive #1361 (Steam locomotive) USE Ka nanʻʺ (Burmese people) K-BIT (Intelligence test) USE 1361 K4 (Steam locomotive) Ka-Tzetnik Award USE Kaufman Brief Intelligence Test K5 (Pakistan and China : Mountain) USE K. -
Values of Protected Landscapes and Seascapes
1 Values of Protected Landscapes and Seascapes Values of Protected Landscapes and Seascapes A series published by the Protected Landscapes Task Force of IUCN’s World Commission on Protected Areas Series Editorial Team: Thora Amend, Jessica Brown, Ashish Kothari, Adrian Phillips and Sue Stolton Protected Landscapes and Cultural and Spiritual Values Edited by Josep-Maria Mallarach Volume produced in partnership between the WCPA Protected Landscapes Task Force and the Task Force on Cultural and Spiritual Values of Protected Areas. Volume Editorial Advisory Team: Jessica Brown, Thymio Papayannis, Fausto Sarmiento and Rob Wild ISBN 978-3-925064-60-9 Published by Kasparek Verlag Heidelberg, 2008 Legal Deposit GI-1229-2008 (Catalan library reference number) Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Inter- net at http://dnb.d-nb.de Citation Josep-Maria Mallarach (ed.) 2008. Protected Landscapes and Cultural and Spiritual Values. Volume 2 in the series Values of Protected Lands- capes and Seascapes, IUCN, GTZ and Obra Social de Caixa Catalunya. Kasparek Verlag, Heidelberg. Publisher Published on behalf of GTZ, IUCN and Obra Social de Caixa Catalunya by: Kasparek Verlag D - Mönchhofstr. 16 69120 Heidelberg, Germany www.kasparek-verlag.de Addresses IUCN - World Conservation Union RueMauverney 28 CH - Gland 1196, Switzerland www.iucn. org Deustche Gesellschaft für technische Zusammenarbeit (GTZ) GmbH Postfach 5180 D - 65726 Eschborn, Germany www.gtz.de Obra Social Caixa Catalunya c/ Provença, 261-265 - baixos (La Pedrera) E- 08008 Barcelona, Spain http://obrasocial.caixacatalunya.es/ Linguistic correction Michael Lockwood Layout and printed Original layout of series: kunse.com Present volume: Impremta Aubert Pol. -
The Relations Between Asian and African Communities: a Comparative Study of Western and Nyanza Provinces of Kenya, 1900-2002
i THE RELATIONS BETWEEN ASIAN AND AFRICAN COMMUNITIES: A COMPARATIVE STUDY OF WESTERN AND NYANZA PROVINCES OF KENYA, 1900-2002 LES RELATIONS ENTRE LES COMMUNAUTÉS INDIENNE ET AFRICAINE AU KENYA: UNE ÉTUDE COMPARATIVE DES WESTERN ET NYANZA PROVINCES 1900-2002 THESE présentée à L’UNIVERSITE DE PAUET DES PAYS DE L’ADOUR Les Afriques dans le Monde Ecole doctorale des Sciences Sociales et Humanités Par OMENYA, Gordon Onyango Pour obtenir le grade de DOCTEUR EN HISTOIRE Soutenue devant la jury suivant : Monsieur le Directeur de recherches Michel ADAM, IRD. Madame le Professeur Sophie Blanchy, anthropologue, Directeur de recherche au CNRS, Université Paris Ouest Nanterre Monsieur Herve MAUPEU, maître de conférences en Sciences Politiques LAM, UPPA Monsieur le Professeur Henri MEDARD, professeur d’histoire, Universite d’Aix Marseille Madame le Professeur Mildred NDEDA, Professeur d’histoire, co-directeur, Jaramogi Oginga Odinga University of Technology Monsieur le Professeur Christian THIBON, Professeur d’histoire contemporaine, Université de Pau, directeur de la recherche, ii DECLARATION This thesis is my original work and has not been submitted for a degree in any other university. _______________________Signature Date______________________ Omenya Gordon Onyango Ecole doctorale des Sciences Sociales et Humanites We confirm that the work reported in this thesis was carried out by the candidate under our supervision. ____________________________ Signature Date___________________ Professor Christian Thibon LAM-UPPA - Les Afriques dans le Monde