Inanga Program Notes.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
(Re-)Translating Unity and Reconciliation in Post-Genocide Rwanda
Gregory Barz Music and (re-)translating unity and reconciliation in post-genocide Rwanda First submission: 25 January 2012 Acceptance: 12 November 2012 This article focuses on the ability of a historically important musical instrument in the East African country of Rwanda, the inanga, to contribute to the (re-)translation of issues related to unity and reconciliation efforts after the genocide of 1994. By concentrating on the transmission of tradition from Kirusu Thomas to Sophie Nzayisenga, from father to daughter, I underscore the significant changes in cultural contexts for historical and contemporary inanga performance while also positioning the instrument within the dominant cultural metaphors of ‘blockage’ and ‘flow’. Throughout the article, I draw on inanga song texts to demonstrate the role of the inanga as cultural translator. Musiek en die (her-)vertaling van eenheid en versoening in post-menseslagting Rwanda Hierdie artikel fokus op die potensiaal van ’n geskiedkundig belangrike musiekinstrument in die Oos-Afrikaland van Rwanda, die inanga, om by te dra tot die (her-)vertaling van vraagstukke wat verband hou met pogings tot eenheid en versoening na die menseslagting van 1994. Deur my konsentrasie op die oordrag van tradisie van Kirusu Thomas na Sophie Nzayisenga, van pa na dogter, beklemtoon ek die betekenisvolle veranderinge in kulturele kontekste vir historiese en hedendaagse inanga-uitvoering, terwyl ek terselfdertyd die instrument binne die heersende kultuurmetafore van ‘blokkasie’ en ‘vloei’ posisioneer. In die artikel -
Exploring the Symbiosis of Western and Non-Western Music: a Study
7/11/13 17:44 To Ti Ta Thijmen, mini Mauro, and an amazing Anna Promotoren Prof. dr. Marc Leman Vakgroep Kunst-, Muziek- en Theaterwetenschappen Lucien Posman Vakgroep Muziekcreatie, School of Arts, Hogeschool Gent Decaan Prof. dr. Marc Boone Rector Prof. dr. Anne De Paepe Leescommissie Dr. Micheline Lesaffre Prof. Dr. Francis Maes Dr. Godfried-Willem Raes Peter Vermeersch Dr. Frans Wiering Aanvullende examencommissie Prof. Dr. Jean Bourgeois (voorzitter) Prof. Dr. Maximiliaan Martens Prof. Dr. Dirk Moelants Prof. Dr. Katharina Pewny Prof. Dr. Linda Van Santvoort Kaftinformatie: Art work by Noel Cornelis, cover by Inge Ketelers ISBN: 978-94-6197-256-9 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen, of enige andere manier, zonder voorafgaande toestemming van de uitgever. Olmo Cornelis has been affiliated as an artistic researcher to the Royal Conservatory, School of Arts Ghent since February 2008. His research project was funded by the Research Fund University College Ghent. Faculteit Letteren & Wijsbegeerte Olmo Cornelis Exploring the symbiosis of Western and non-Western music a study based on computational ethnomusicology and contemporary music composition Part I Proefschrift voorgelegd tot het behalen van de graad van Doctor in de kunsten: muziek 2013 Dankwoord Een dankwoord lokt menig oog, en dient een erg persoonlijke rol. Daarom schrijf ik dit deel liever in het Nederlands. Een onderzoek dat je gedurende zes jaar voert, is geen individueel verhaal. Het komt slechts tot stand door de hulp, adviezen en meningen van velen. -
The Akazehe of Burundi: Polyphonic Interlocking Greetings and the Female Ceremonial
The Akazehe of Burundi: Polyphonic Interlocking Greetings and the Female Ceremonial Serena Facci / University of Rome “Tor Vergata” Translated by Alessandra Ciucci / Columbia University Manuscript Editor: Alessandra Ciucci / Columbia University General Editor: Richard K. Wolf / Harvard University Editorial Assistant: Catherine Mullen / Indiana University Bloomington Abstract Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women. Studies carried out during the colonial era (in particular Rodegem 1965, 1973) and in more recent times (Ndimurwanko 1985-6) have shown how the contents of these greetings among women are closely linked to the feminine world in which these greetings are used—in specific private and public spaces in accordance with rural tradition. Although these greetings were becoming less common at the time the research for this article was conducted, the author was able to record a number of akazehe after listening to examples of them in the sound archives of the Centre de civilisation burundaise. A greeting is defined by linguists as a formalized parenthesis that defines, reiterates, and encloses the relation between two participants. The formulaic character of a greeting makes it different from ordinary speech. In the case of the akazehe, the greeting emphasizes gestural and sound qualities to such an extent that it creates a veritable musical texture. This article presents transcriptions and analysis of some models of akazehe, focusing on one that features procedures of vocal interlocking. The two parts—gutera and kwakira—are organized according to musical rules that manifest a strong spirit of cooperation between the two women who sing the two parts in dialogue. -
Abanyasida: Emergent Subjectivities and Socialities in Rwandan Associations for People Living with Hiv Jennifer Ilo Van Nuil Wayne State University
Wayne State University Wayne State University Dissertations 1-1-2015 Abanyasida: Emergent Subjectivities And Socialities In Rwandan Associations For People Living With Hiv Jennifer Ilo Van Nuil Wayne State University, Follow this and additional works at: https://digitalcommons.wayne.edu/oa_dissertations Part of the Social and Cultural Anthropology Commons Recommended Citation Van Nuil, Jennifer Ilo, "Abanyasida: Emergent Subjectivities And Socialities In Rwandan Associations For People Living With Hiv" (2015). Wayne State University Dissertations. 1383. https://digitalcommons.wayne.edu/oa_dissertations/1383 This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. ABANYASIDA: EMERGENT SUBJECTIVITIES AND SOCIALITIES IN RWANDAN ASSOCIATIONS FOR PEOPLE LIVING WITH HIV by JENNIFER ILO VAN NUIL DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2015 MAJOR: ANTHROPOLOGY Approved By: _________________________________________ Advisor Date _________________________________________ _________________________________________ __________________________________________ © COPYRIGHT BY JENNIFER ILO VAN NUIL 2015 All Rights Reserved DEDICATION For my grandmother, Wave Bearl Heyboer and the members of all the Rwandan HIV support associations ii ACKNOWLEDGEMENTS There are so many people who have assisted in the completion of this work both academically and emotionally. This process was isolating and challenging and I was fortunate to have a solid support network. Without the academic and personal support of so many mentors and friends I never would have succeeded in writing this dissertation and completing my doctorate degree. First I would like to extend my extreme gratitude to Dr. -
H ^ 9&L. It Is Perhaps Strange That One of Africa's Most Important Small
H ^ 9&l . It is perhaps strange that one of Africa’s most important small musical instruments should suffer from an incorrect naming at the hands of many ethnomusicologists and museum keepers, those who should be most concerned to give it its rightful name and place in the catalogue of this continent’s instruments. The instrument is popularly known under several rather nebulous names such as •Kaffir Piano’, ‘Hand Piano’, ‘Thumb Piano’ and ‘Pianino’, by those whose major criterion is the modern pianoforte; and ‘Sansa’ by students who have taken their cue onquestioningly from the printed pages of earlier writers. It is doubly strange that students who “would otherwise shrink from misnomers should continue to use the npifllj term ‘sansa’ whin by all accounts no indigenous African musician uses this name for iHiiiSfc. his instrument (unless he has learnt it from the same literary sources). The origin of this error appears to be with David Livingstone. In his book “ Expedition to the Zambezi, 1858-64” (John Murray, London, p. 13) David Livingstone states that he used both his own journal and observations from that of his brother, Charles Livingstone, when compiling his narrative for publication “for, die sake of the freshness which usually attaches to first impressions.” Then he adds, “And doubtless many will prefer to draw their own conclusions from them rather than to be schooled by us.” It is this liberty which I now propose to take. I have failed to find any reference in David Livingstone’s own diaries which would icate that the statement made about this instrument in his book was, in fact, his own observation. -
Genocide, Citizenship and Political Identity Crisis in Postcolonial Africa: Rwanda As Case Study
Genocide, Citizenship and Political Identity Crisis in Postcolonial Africa: Rwanda as Case Study By Faith R. Simbi Student Number 206525522 Thesis Submitted in Fulfilment of the requirements of the Degree of Master of Social Science in International Relations, School of Politics, Faculty of Humanities, Development and Social Science at the University of KwaZulu Natal, Pietermaritzburg, South Africa Supervisor: Doctor Alison Jones 2012 1 | P a g e ACRONYMS AU African Union AU African Unity BBTG Broad-Based Transitional Government CDR Coalition pour le Defense de la Republique DRC Democratic Republic of Congo FRODEBU Front for Democracy in Burundi MDR Movement Democratique Republician MNRD Movement National pour la Revolution et le Development NRA National Resistance Army NRMD National Revolutionary Movement for Development OAU Organization of African Union PARMEHUTU Parti du Mouvement de l‟ Emancipation Hutu PL Parti Liberal PSD Parti Social Democrate RANU Rwanda Alliance for National Unity RPA Popular Resistance Army RPF Rwandan Patriotic Front RRWA Rwanda Refugees Welfare Association RTML Radio Television Libre des Mille Collines TANU Tanganyika African National Union UN United Nations UNAR Union Nationale Rwandaise UNHRCR United Nations High Commissioner for Refugees 2 | P a g e Declaration I, Faith Rumbidzai Simbi declare that this dissertation is my own original work. Student: Faith Simbi ------------------------------ Supervisor : Dr. Alison Jones: ------------------------------ 3 | P a g e ACKNOWLEDGEMENTS Firstly, I would like to thank God for giving me the strength and the ability to complete my thesis. Secondly, my greatest appreciation goes to my supervisor Doctor Alison Jones for her guidance, encouragement and support. Without her comments and insights, the completion of this thesis would not have been possible. -
Country Gender Profile: Rwanda Final Report
Country Gender Profile: Rwanda Final Report December 2012 JAPAN INTERNATIONAL COOPERATION AGENCY EI (JICA) JR Gyros Corporation 13-172 The views expressed in this book are those of the authors and do not necessarily reflect the views and policies of JICA. JICA does not guarantee the accuracy of the data included in this publication and accept no responsibility for any consequence of their use. Table of Contents Rwanda Summary ................................................................................................................................. ii List of Abbreviations .............................................................................................................. vi Map ...................................................................................................................................... viii 1. Basic Profiles ....................................................................................................................... 1 1-1 Socio-Economic Profile ............................................................................................... 1 1-2 Health Profile ............................................................................................................. 3 1-3 Education Profile ........................................................................................................ 4 1-4 Millennium Development Goals(MDG) .................................................................. 5 2. General Situation of Women and Government Policy on Gender ........................................ -
Power and Politics in Precolonial Rwanda
DYNAMICS OF DISCOURSE: POWER AND POLITICS IN PRECOLONIAL RWANDA _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by COLIN MCMILLIN Dr. Robert M. Baum, Thesis Supervisor DECEMBER 2014 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled DYNAMICS OF DISCOURSE: POWER AND CULTURE IN PRECOLONIAL RWANDA presented by Colin McMillin a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Robert M. Baum Professor Nathan C. Hofer Professor Ibitola Pearce ACKNOWLEDGMENTS For the guidance, support, and encouragement without which this work would never have been able to exist, I wish to thank first and foremost Robert M. Baum, who invited and introduced me to the study of African religions and who was chair of my thesis defense committee. Thanks also to the other committee members, Nathan C. Hofer, Ibitola Pearce, and Dennis F. Kelley. Additionally, for help and advice in this and other aspects of the academic field of religion, thanks to Richard J. Callahan, Rabia Gregory, Justin Arft, Nathan Desrosiers, Bob Flanagan, Daniel Cohen, Signe Cohen, Edward Drott, and my other professors and friends in the Religious Studies Department at the University of Missouri-Columbia. Each of you has contributed along the way to my thinking about this problem and about the field of religion in general. Thank you all. ii TABLE OF CONTENTS Acknowledgments………………………………………………………………………...ii Introduction: Re-framing the Conflict between “Tutsi” and “Hutu” ................................ -
Implantation and Growth of the Seventh-Day Adventist Church in Rwanda (1919-2000)
IMPLANTATION AND GROWTH OF THE SEVENTH-DAY ADVENTIST CHURCH IN RWANDA (1919-2000) By NGABO BIRIKUNZIRA JEROME Submitted in part fulfilment of the requirements for the degree of MASTER OF THEOLOGY In the subject CHURCH HISTORY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: Prof M J S MADISE AUGUST 2008 ********************** DECLARATION I declare that “Implantation and Growth of the Seventh-day Adventist Church in Rwanda (1919-2000)” is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Signature: NAMES: Ngabo Birikunzira Jérôme ii ABSTRACT In this research, I have attempted to show how the Seventh-day Adventist Church originated in America during the 19th century, following a spiritual revival centered on the eschatology propounded by the Millerite Movement, which proclaimed the return of Christ in 1844. After the disappointment and the defection of its members, the remainder formed the nucleus of Adventists. They believed in the mission to proclaim the Second Coming of Jesus to the world, without fixing the dates. The Adventists reached Europe and from there Rwanda in the persons of two missionaries during 1919. In spite of various difficulties, they founded three mission stations to be used as a base for their growth. They integrated faith in education and medical work while, in particular, involving laity in evangelism, which was the key to their success. iii TABLE OF CONTENTS DECLARATION ................................................................................................... -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Memorializing the Genocide of the Tutsi Through Literature, Song and Performance Permalink https://escholarship.org/uc/item/2j23t4n3 Author Mueller, Anne Goullaud Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Memorializing the Genocide of the Tutsi Through Literature, Song, and Performance A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Anne Goullaud Mueller 2016 © Copyright by Anne Goullaud Mueller 2016 ABSTRACT OF THE DISSERTATION Memorializing the Genocide of the Tutsi Through Literature, Song, and Performance by Anne Goullaud Mueller Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2016 Professor Dominic R. Thomas, Chair “Memorializing the Genocide of the Tutsi Through Literature, Song, and Performance” examines how the 1994 Rwandan genocide has been commemorated in literature, music, and theater performances. Over the past twenty years, in the goal of reconciliation, the Rwandan government has developed a single acceptable narrative of the atrocity; this discourse is enacted and perpetuated through cultural practices (such as yearly commemoration events and marches) and through selective silencing (discussions of ethnicity are illegal in Rwanda). Far from smoothing over the troubles of the past, this rewriting of Rwandan history creates a set of complex challenges for the scholar seeking to interpret representations of genocide, particularly insofar as the cultural texts in question produce counter narratives that question both the official story and their own capacity to represent the trauma of ethnic cleansing. -
“Disco Dreads”
“Disco Dreads” Self-fashioning through Consumption in Uganda’s Hip Hop Scene Image-making, Branding and Belonging in Fragile Sites Simran Singh Department of Music, Royal Holloway, University of London Dissertation submitted for the degree of Doctor of Philosophy September 2017 1 TABLE OF CONTENTS Declaration of authorship ……………………………………………………………….5 Abstract ………………………………………………………………………………….6 Acknowledgements………………………………………………………………………8 List of figures…………………………………………………………………………….7 Chapter 1 Introduction to thesis “The chick with the kicks” ………………………………………………………………9 Self-fashioning through consumption: theoretical frames………………………………21 Thesis outline……………………………………………………………………………38 Chapter 2 Music in Uganda Patronage to persecution: a brief overview of Uganda’s music…………………………42 Global influences, the birth of a music industry and an FM revolution: 1986 onwards………………………………………………………………………… …45 Imagining the popular: 1950s – 1980s…………………………………………………...51 Investigating the traditional……………………………………...………………………57 Music as message in the 21st century…………………………...………………………..61 Chapter 3 Method A Porsche’s place………………………………………………………………………..69 Friendship and the Field………………………………………………………………....73 The epistemic community……………………………………………………………….76 Ethnographic phenomenology…………………………………………………………..78 2 Web 2.0 or social networking………………………………………………………………81 Visualising hip hop…………………………………………………………………………83 Practical tools and concerns in the field……………………………………………………87 Chapter 4 Image-making and the Ugandan hip hop ‘mogul’ The mogul’s visual density…………………………………………………………………..90 -
Musical Performance of the Haya of Bukoba, Tanzania
A WOMAN CAN SING AND DANCE BUT CANNOT DANCE WITH HIGH LEAPS: MUSICAL PERFORMANCE OF THE HAYA OF BUKOBA, TANZANIA by MATHAYO NDOMONDO Introduction In the area covering the present day Muleba and Bukoba Urban and Bukoba Rural Districts, as is the case in other areas where Buhaya culture is predominant in the Kagera region in Tanzania, musical performances – singing, dancing, and playing of musical instruments – are integral parts of everyday life. As is the case in many African societies, among the Haya musical performances are inseparable from the daily events and the social, political and cultural life of the community. Traditionally, events such as marriage, funerals, worship, installation, praise, and exaltation of kings (omukama), celebratory war dances (omutoro) and heroic recitations or self–praise recitations (ebyebugo), healing practices such as cleansing and chasing away evil spirits, and all occasions calling for celebration produced performances. In the contemporary Haya world, some such events (for example, war dances and installation of traditional leaders) have ceased, but the musical performances have been re-contextualized for religious, social, health and political purposes. Participation in music-making in a variety of musical genres of the Haya music- culture which are associated with secular and sacred functions is traditionally on the basis of gender, social role and category, and age of the participants. Th e war dance (omutoro) and heroic recitations (usually recited within the omutoro dance, and sometimes in other avenues) were the domains of men (Mulokozi 2002 and Ndibalema 2008). Enanga (a seven or eight string trough zither) poetic tradition, which traditionally was associated with the heroic milieu1, was also the privilege of the male bards.