UNIT 7 RESOURCES Africa South of the Sahara
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All Music Is Music EK Submission
“All Music is Music”: Reconciling Musical Cultures of Origin with Music Identities in Collegiate Programs of Tanzania A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Emmanuel Samwel Kaghondi MM, B.A., Dip.Th IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Akosua Addo, Ph.D. Research Supervisor August 2019 © 2019 Emmanuel Samwel Kaghondi ALL RIGHTS RESERVED i Acknowledgements As per Newton: “If I have seen further than others, it is by standing upon the shoulders of, giants.” The only response to my accomplishment is my gratitude for what others have sacrificed for me. It all started with a five-day trip from Texas, where I was finishing up my master’s degree, to Minnesota, where I was invited to speak and work with the Church choir at Our Savior Lutheran Church in Owatonna. In Phil and Kim Williams’s home, when I entered, I was a stranger, when I woke up, I was a family member, and when I left, I was an adopted son. “One step at a time” as Phil would say, two years later, I was in the same room in the basement as a doctoral student. I am grateful for their radical hospitality, financial support, and more importantly, for adopting my family and me. I am very grateful to Pr. John Weisenburger, his staff and community of Our Savior’s Lutheran Church for every material, spiritual and social support given to us without which our living here would not be possible. Their kindness is impossible to explain in simple words. -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
Dedicated To
MASTERARBEIT Titel der Masterarbeit Nkangala Mouth-Bow Tradition in Malaŵi A Comparative Study of Historiography, Performance Practices, Social Context and Tonal Systems verfasst von Zeynep Sarıkartal angestrebter akademischer Grad Master of Arts (MA) Wien, 2014 Studienkennzahl lt. Studienblatt: A 066 836 Studienrichtung lt. Studienblatt: Masterstudium Musikwissenschaft Betreuer: a.o. Univ.-Prof. Dr. Gerhard Kubik 2 Dedicated to Abdullah Cömert Ethem Sarısülük Mehmet Ayvalıtaş Ali İsmail Korkmaz Medeni Yıldırım Ahmet Atakan Hasan Ferit Gedik Berkin Elvan Ahmet Küçüktağ Burak Can Karamanoğlu who lost their lives during the police and state-assisted violence towards the protesters, which had started in the Gezi Park in Turkey in the summer of 2013 and still going on up to present day, to their families and to all people who has been in solidarity. 3 Acknowledgements This study had been realized under the supervision of my advisor a.o. Univ. -Prof. Dr. Gerhard Kubik, who inspired me with his works, experiences and methodologies on African music studies as well as with his multi-disciplined approach on ethnology. First of all I would like to thank him for all his works, which constitute the majority of my bibliography, for sharing his field experiences during his lectures and for showing patience for the questions during my long-term work process. Beside this I would like to specially thank to Mag. Dr. Moya Aliya Malamusi, Ass. -Prof. Mag. Dr. August Schmidhofer and Univ. -Prof. Mag. Dr. Regine Allgayer-Kaufmann for organizing the research trip to Malaŵi, for all the support and opportunities that they have provided during my short field work, for their encouragement on the subject; to Romeo and Dyna Malamusi and to Alik Mlendo for sharing their knowledge and for translations; to Malamusi family for their hospitality in Malaŵi, and to my nkangala teachers Ellena and Cicilia Kachepa, with all my sincerity. -
Planning African Rural Towns the Case of Caia and Sena, Mozambique
Monographs of the School of Doctoral Studies in Environmental Engineering Doctoral School in Environmental Engineering Planning African rural towns The case of Caia and Sena, Mozambique Roberta Nicchia 2011 Monographs of the School of Doctoral Studies in Environmental Engineering Doctoral School in Environmental Engineering Planning African rural towns The case of Caia and Sena, Mozambique Roberta Nicchia 2011 i Doctoral thesis in Environmental Engineering, XXIII cycle Faculty of Engineering, University of Trento Academic year 2009/2010 Supervisor: prof. Corrado Diamantini, University of Trento University of Trento Trento, Italy 2011 ii ―Só a Antropofagia nos une. Socialmente. Economicamente. Filosoficamente. Única lei do mundo. Expressão mascarada de todos os individualismos, de todos os coletivismos. De todas as religiões. De todos os tratados de paz. [...] Só me interessa o que não é meu. Lei do homem. Lei do antropófago [...] A alegria é a prova dos nove. A luta entre o que se chamaria Incriado e a Criatura – ilustrada pela contradição permanente do homem e o seu Tabu. O amor cotidiano e o modusvivendi capitalista. Antropofagia. Absorção do inimigo sacro. Para transformá-lo em totem. A humana aventura. A terrena finalidade.‖ Oswald de Andrade, Manifesto antropófago, 1928 iii iv Preface The present study is part of a wider research and spatial planning activity conducted over the last seven years by the DICA—Department of Civil and Environmental Engineering (University of Trento) in the district of Caia, Mozambique. The DICA, in fact, is involved in a decentralized cooperation program, named ―Il Trentino in Mozambico e il Mozambico in Trentino‖, between the Provinces of Trento (Italy) and Sofala (Mozambique). -
Cultural Practices Among the Sena in Nsanje District Malawi: HIV and AIDS and the African Evangelical Church
Cultural Practices among the Sena in Nsanje District Malawi: HIV and AIDS and the African Evangelical Church By Lucy Thokozile Chibambo Submitted in Partial Fulfilment of the Academic Requirement forthe Degree of Masters in Theology (Ministerial Studies) in the School of Religion and Theology, University of KwaZulu-Natal, Pietermaritzburg Supervisor: Professor Edwina Ward March 2009 DECLARATION I, Lucy Thokozile Chibambo a candidate of Masters' degree in Ministerial Studies in the School of Religion andTheology, University of KwaZulu-Natal,Pietennaritzburg, hereby declarethat except forthe quotations specificallyindicated in the dissertation, andsuch help as I have acknowledged, thisis wholly my original work andthat it has not been submittedat anyinstitute for the fulfilment of anotherdegree. - :Joo� Signed: .... �.................. Date: .,Olf- 0 � ' .............. I acknowledge that this research paper isready forexamination. ,,. -..z.oo 'J Supervisor: -..£� ............... Date: .olt.- o 3......•. · · _-1::>u�r!) This research pape r h abs een ed't I edb y. ..............:::r;;� ..........-...................... •.•..•• ••••••.••••... D.a t e. • • w.....,._tf')J,._ Q"">� -dl..oo....................... qf••··•··· 11 DEDICATION I dedicate this work to my late parents Mr and Mrs Kamba Phiri. I also dedicate this work to my husband Songelwayo andto our three daughters Mandhlase,Nomusa and Sibusisiwe for their support in this researchpaper. 111 ACKNOWLEDGEMENT The writing of this research paper would never have reached the final stage of completion withoutthe assistance andencouragement of the following people; Firstly, I want to pay tribute to the Almighty God for granting me the necessary wisdom, strength, guidanceand understanding during my studies. My sincere thanks and gratitude go to my Supervisor, Professor Edwina Ward for her ability, diligence and expert supervision. -
Herbert Shore Collection in Honor of Eduardo C
HERBERT SHORE COLLECTION IN HONOR OF EDUARDO C. MONDLANE INVENTORY Subgroup I. Historical Files relating to Herbert Shore’s interests in the Arts and Culture Series 1. Council on the Arts, Culture, and Technology (TACT), 1962-63, 1971-84, 1991, n.d. (1 architectural drawing) Box 1 TACT General Information Aboriginal Culture, Aboriginal Art from Papunya, Central Australia, Dec. 12, 1977 Ad-hoc panel in view of the preparation of the Second World Conference on Cultural Policies, Dec. 15–19, 1980 Annual Report to U.S. NATCOM, Sept. 30, 1980 Art and Education, Mar. 5, 1971 Art and the Future, 1978-80 Art in a Technological Society, Report by Herbert Shore, 1980 Art in a Technological Society, Workshops, Jan 24-25, 1980 (4f) The Arts and the Technological Challenge, 1982 Desmond E. Berghofer, The Development of Educational Policy in the Context of Lifelong Learning: A Discussion Paper, Mar. 2, 1983 The Black Art Revolution in the United States and Its Possible Relevance to Africa, Report to the Ford Foundation by Ulli Beier, n.d. The Communications Explosion, (1972?) Correspondence, 1978-80 Cultural Development and Policies, 1975-82, n.d. Cultural Policy and Unesco, 1979-1981, n.d., (3f) Cultural Transformations and the Human Scale of Time and Space, Ludwik Bielawski, n.d. Cultural Values, n.d. Culture & Technology, 1978, 1982, n.d. (4f) Development of a New Instrument of Percussion –The Two-Manual Vibraphone, Ronald M. George, n.d. Economic Order, Moving Towards Change, 1976 Education, Department of, 1976-1983 (5f) Educational Film Center, Storytellers, 1977-1979 Educational Research. Mozambique, 1980, n.d. -
Meaning of Umunthu
MEANING OF UMUNTHU COMMUNITY SPIRIT FOR THE BUILDING OF THE HUMAN COMMUNITY ON THE EXAMPLE OF THE SOCIO –POLITICAL SITUATION OF MALAWI submitted by Mennas Vincent Mukaka for the Academic Degree of Doctor of Theology at the Karl-Franzens University of Graz Institute/Department of Catholic Theology under the Supervision of Prof. Dr. Leopold Neuhold (1. Supervisor) Prof. DDr. Reinhold Easterbauer (2. Supervisor) © 2015 Mennas Vincent Mukaka iii DECLARATION I DECLARE THAT THIS DISSERTATION IS MY OWN WORK AND ALL THE SOURCES HAVE BEEN QUOTED AND ACKNOWLEDGED BY MEANS OF COMPLETE REFERENCES AND NO PART OF THE DISSERTATION HAS BEEN SUBMITTED FOR ANY OTHER DEGREE. Mennas Vincent Mukaka…………………………………………….. Date:…………………………………………… Place:………………………………………….. iv ACKNOWLEGEMENT “I am because you are, since you are therefore I am”. This thesis is achieved with the assistance of others without whom it could not have been accomplished. There are many people who have contributed to this work and I cannot manage to mention all of them, but all should know and feel that I greatly appreciate their contribution. I would like to acknowledge my deep indebtedness and thanks to the following people in particular: Dr Leopold Neuhold, my doctorate father, and DDr Reinhold Esterbauer, my second supervisor. I have benefited, at different stages of the project, from their contributions and friendly guidance. They are crucially responsible for the actions which led to the completion of this thesis. In addition, this work could not have been completed without the support offered by the Comboni Missionaries of the German Speaking Province (DSP). In particular I thank Mag. Fr. Joseph Altenburger, once my formator in Innsbruck, the then Provincial Superior of the German speaking Province who accepted that I do my studies in Graz. -
A History of Juvenile Delinquency in Colonial Zimbabwe, 1890-C.1960
Deviance and Colonial Power: A History of Juvenile Delinquency in Colonial Zimbabwe, 1890-c.1960 By Ivo Mhike SUBMITTED IN FULFILMENT OF THE REQUIREMENTS IN RESPECT OF THE DOCTORAL DEGREE QUALIFICATION IN AFRICA STUDIES IN THE CENTRE FOR AFRICA STUDIES IN THE FACULTY OF THE HUMANITIES AT THE UNIVERSITY OF THE FREE STATE February 2016 Supervisor: Prof I.R. Phimister Co-Supervisor: Dr K.V. Law Declaration (i) I, ……….................................................., declare that the Doctoral Degree research thesis that I herewith submit for the Doctoral Degree qualification ................................................... at the University of the Free State is my independent work, and that I have not previously submitted it for a qualification at another institution of higher education. (ii) I, ............................................................, hereby declare that I am aware that the copyright is vested in the University of the Free State. (iii) I, ....................................................., hereby declare that all royalties as regards intellectual property that was developed during the course of and/or in connection with the study at the University of the Free State, will accrue to the University. Signature: Date: Abstract This thesis is the first comprehensive study of juvenile delinquency in colonial Zimbabwe. Based on a detailed reading of archival sources generated by central government in various departments, urban municipalities, and autobiographies, it reconstructs important dimensions in the labelling and -
Swahili Forum 13 (2006): Special Issue “Lugha Ya Mitaani in Tanzania”
SSWWAAHHIILLII FFOORRUUMM 1133 Edited by: Rose Marie Beck, Lutz Diegner, Clarissa Dittemer, Thomas Geider, Uta Reuster-Jahn SPECIAL ISSUE LUGHA YA MITAANI IN TANZANIA THE POETICS AND SOCIOLOGY OF A YOUNG URBAN STYLE OF SPEAKING WITH A DICTIONARY COMPRISING 1100 WORDS AND PHRASES Uta Reuster-Jahn & Roland Kießling 2006 Department of Anthropology and African Studies Johannes Gutenberg University Mainz, Germany ISSN 1614-2373 SWAHILI FORUM 13 (2006): SPECIAL ISSUE “LUGHA YA MITAANI IN TANZANIA” Content 1. Introduction: Lugha ya Mitaani 1 1.1 History of colloquial non-standard Swahili speech forms 1 1.2 Special forms of Lugha ya Mitaani 4 1.2.1 Campus Swahili 5 1.2.2 Secret codes derived from Swahili 5 1.2.3 Lugha ya vijana wa vijiweni 6 1.2.4 The language of daladalas 8 1.3 Overview of the article 9 2. Methodology 10 2.1 Field research 10 2. 2 Acknowledgements 12 2. 3 The making of the dictionary 12 3. Sociolinguistics of Lugha ya Mitaani 13 3.1 Lugha ya Mitaani as youth language 13 3.2 Knowledge, use and attitudes 14 3.3 Diachronic aspects of Lugha ya Mitaani 17 4. Lexical elaboration 18 4.1 Humans and social relations 20 4.1.1 Humans 20 4.1.2 Women 21 4.1.3 Men 23 4.1.4 Homosexuals 23 UTA REUSTER-JAHN & ROLAND KIEßLING 4.1.5 Social relationship 24 4.1.6 Social status 24 4.2 Communication 24 4.3 Body & Appearance 25 4.4 Economy, Money & Occupation 26 4.5 Sex 27 4.6 Drugs & Alcohol 28 4.7 Movement & Vehicles 28 4.8 Evaluative terms 29 4.9 Experience 30 4.10 Trouble & Violence 30 4.11 Crime & Police 30 4.12 Food 31 4.13 Disease 31 4.14 Geography & Place 32 4.15 Education 32 4.16 Sports 33 4.17 Weapons 33 4.18 Cultural innovation 33 4.19 Time 33 5. -
Tanzanianisation and Practice of Indigenous Music Traditions in Church Worship in Dar Es Salaam
International Journal of Humanities and Social Science Vol. 5, No. 2; February 2015 Tanzanianisation and Practice of Indigenous Music Traditions in Church Worship in Dar es Salaam Kassomo Mkallyah University of Dar es Salaam Tanzania Abstract This article concentrates on the Tanzanianisation process and the practice of indigenous Tanzanian music traditions used in church worship in Dar es Salaam, Tanzania. It shows that the Tanzanianisation of indigenous Tanzanian music traditions takes place when musical sounds from one ethnic culture is appropriated and is embraced by many cultures outside the original ethnic domain. This transformation involves many musical aspects including performance, performers, venues, musical instruments and musical attributes. In this process, the transference of musical sounds from one ethnic culture to other multi-ethnic cultures until the music assumes a national dimension. The article argues that migration affecting all ethnic groups in Tanzania has facilitated the Tanzanianisation of hitherto localised traditional music traditions identified with a particular ethnic group to become multi-cultural and become part of church music. Such Tanzanianisation that facilitates multi-cultural practicing of indigenous music traditions during church worship helps also to foster the preservation and promotion of Tanzania music traditions. Keywords: Tanzanianisation, Practice, Indigenous music traditions, Tanzanian music, Tanzanian church music. 1. Introduction Since the 1990s, the use of indigenous Tanzanian music traditions in Church worship in Tanzania has been on the upswing more than ever before. This development has been abated by increased awareness of Tanzanian’s indigenous music traditions in various activities, including church worship (Mbunga, 1963). It is also a manifestation of the Tanzania government’s concerted efforts to promote indigenous cultures which started after attaining independence from Britain in 1962. -
Probing How the Cultural Practice of Chinamwali Among the Shangaan People Is Used to Construct ‘Womanhood’
COLLEGE OF HUMANITIES, SCHOOL OF SOCIAL SCIENCES CONSTRUCTING “WOMAN”: PROBING HOW THE CULTURAL PRACTICE OF CHINAMWALI AMONG THE SHANGAAN PEOPLE IS USED TO CONSTRUCT ‘WOMANHOOD’ WILLIAM MUCHONO (215076052) A thesis submitted in fulfillment of the requirements of the award of the degree of Doctor of Philosophy (PhD) in Anthropology at the University of KwaZulu-Natal, South Africa SUPERVISOR: Prof. Maheshvari Naidu August 2018 DECLARATION This work is being submitted in fulfillment of the requirements for the PhD in Anthropology in the Faculty of Humanities, Development and Social Sciences, University of KwaZulu-Natal, Howard College, Durban, South Africa. I, William Muchono, hereby declare that this thesis is my own unaided work and has not been submitted previously for any degree or examination in any other university. All references, citations, and borrowed ideas have been duly acknowledged. Signed: Date: 20/08/18 As the Candidate’s supervisor, I agree to the submission of the thesis Supervisor: Professor Maheshvari Naidu Signed: Date: 20/08/18 i DEDICATION I dedicate this to my late daughter, Jean Anopa Muchono. I know you are in a safe place. Rest in Peace my Angel. I owe this achievement to the Almighty God. To my mother Lilian Muchono, my wife Nyasha Muhono, siblings and in-laws, this is for you. ii ACKNOWLEDGEMENTS I owe this success to God Almighty for the being faithful always. I could not achieve this without the grace that is upon me. I also want to acknowledge the people of Mahenye community – the chief, the headmen, men and women who shared their lived experiences, knowledge and understanding of their cultural practice of chinamwali/ khomba. -
African Novelists, Poets, Playwrights, Artists and Musicians; African History, Politics, and Social Questions
Dennis Duerden collection of sound recordings relating to African novelists, poets, playwrights, artists and musicians; African history, politics, and social questions Note: Part of the Duerden Collection purchased from The Transcription Center (London) by Archives of Traditional Music, Indiana University, Bloomington, and the Cooperative Africana Microfilm Project (CAMP) a division of the Center for Research Libraries, Chicago, in 1974; under option 2. Digitized transcripts of sound recordings by The Transcription Center (London) in various locations, ca. 1962-1969. Original sound recordings held by Archives of Traditional Music, Indiana University, Bloomington. Below is a list of the sixteen titles contained in the collection. Title OCLC Transcripts of "Africa, interviews with Black African writers and artists, ca. 1962-1969" 813232968 Transcripts of "Africa, Lectures with Black African writers and artists, 1962-1966" 813410265 Transcripts of "Africa, Black African writers and playwrights, 1962-1968" 813410430 Transcripts of "Africa, Black writers and poets 1962-1966" 813418592 Transcripts of "Africa, West Indies and United States, Black artists and writers, 1962-1967" 813436589 Transcripts of "Africa, Black social scientists and writers, 1962-1966" 813441400 Transcripts of "Tanzania and Kenya, Swahili program series, 1966-1970" 813444554 Transcripts of "Nigeria, Hausa program series, 1968-1970" 813455796 Transcripts of "Africa, lectures on African music, 1967," Amharic 813835133 Transcripts of "Africa, lectures on African music, 1966,"