Message from Mr. V Nagaraj, Vice Chairman, SGI
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Music, Health and Hegemony in Tanzania in the Context of Hiv/Aids
“…THOSE WHO DID IT HAVE POWER...” MUSIC, HEALTH AND HEGEMONY IN TANZANIA IN THE CONTEXT OF HIV/AIDS by MATHAYO BERNARD NDOMONDO Abstract. This article investigates the display of power relations in the production of health knowledge about HIV/AIDS through music that addresses the HIV/AIDS pandemic in Tanzania. It specifically looks at the intersection of the state and religion in both shaping culture and influencing decision-making in the production of health knowledge on HIV/ AIDS. I argue that the study of HIV/AIDS and the creative process of music about HIV/ AIDS is also the study of power relations at multiple levels. Using two recordings, ‘Mambo kwa socks’ (Things with socks on) and ‘Usione soo, sema naye’ (Do not feel shy, speak to him or her), which have been forbidden from public broadcast by the government of Tanzania as evidence, I suggest that musical performances that focus on HIV/AIDS involve the production of multiple, often dissonant and antagonistic interpretations among individuals because of the musical styles employed and because of the interpreters’ different ages, social positions, context, social and historical spaces. Introduction On March 10, 2009, viewers (including myself) of the evening television news hour in Tanzania found themselves watching the public slapping of Alhaji Ali Hassan Mwinyi, former President of the United Republic of Tanzania, during an important Islamic event in Dar es Salaam. To many the incident was shocking, extraordinary, and historic. It was Maulid, a religious holiday in which Muslims in Tanzania and the world over were celebrating the birth of the Prophet Muhammad. -
ECFG-Tanzania-2020R.Pdf
About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural dimension of your assigned location and gain skills necessary for success. (Photo a courtesy of ECFG USAID). The guide consists of 2 parts: Part 1 introduces “Culture General,” the foundational knowledge you need to operate effectively in any global Tanzania environment. Part 2 presents “Culture Specific” Tanzania, focusing on unique cultural features of Tanzanian society and is designed to complement other pre- deployment training. It applies culture-general concepts to help increase your knowledge of your assigned deployment location. For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact AFCLC’s Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of the AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. All human beings have culture, and individuals within a culture share a general set of beliefs and values. -
ECFG Tanzania 2021R.Pdf
About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural dimension of your assigned location and gain skills necessary for success. (Photo a courtesy of ECFG USAID). The guide consists of 2 parts: Part 1 introduces “Culture General,” the foundational knowledge you need to operate effectively in any global Tanzania environment. Part 2 presents “Culture Specific” Tanzania, focusing on unique cultural features of Tanzanian society and is designed to complement other pre- deployment training. It applies culture-general concepts to help increase your knowledge of your assigned deployment location. For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact AFCLC’s Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of the AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. All human beings have culture, and individuals within a culture share a general set of beliefs and values. -
Muziki Wa Dansi in Dar Es Salaam, Tanzania
RESONATION Muziki wa Dansi in Dar es Salaam, Tanzania Nils von der Assen MA Thesis African Languages & Cultures Leiden University/ African Studies Centre September 2012 RESONATION Muziki wa Dansi in Dar es Salaam, Tanzania Nils von der Assen [email protected] Supervisors Prof. Robert Ross Dr. Daniela Merolla 2 In memory of Joe Martin, a musical mind 3 TABLE OF CONTENTS List of illustrations v Resonation CD + notes vi Acknowledgments viii OPENING NOTES A Pretty Good Crowd for a Friday 11 A City of Windows and Mirrors 12 Popular Music and Instrumental Details 14 ‘Feeling’ the Music: Thoughts on Peircean Semiotics 15 Altered Perspectives and Chapter Synopsis 17 CH 1 | MUSIC, POLITICS AND MODERNITY Cosmopolitanism and Glocalisation 20 Points of Departure 22 Natural and National 25 CH 2 | GOING ELECTRIC: DANSI AS A COSMOPOLITAN MODERNISM Beni Ngoma Performance and Societies 30 The Advent of Dansi 32 Dansi as Anti-Establishment Music 34 Afro-Cuban Rumba 36 The Development of a Record Industry 37 Congolese Rumba, Tanzanian Dansi 39 CH 3 | ORCHESTRATING THE NATIONAL: DANSI AS THE SOUND OF THE STATE Ujamaa and Umoja 42 National Music, National Musicians 43 Going Out Dancing 49 Radio Tanzania Dar es Salaam (RTD) and Censorship 49 Restrictions and Incentives 52 4 CH 4 | BONGO The Music of the New Generation 54 A Capitalist Scene 58 The Old Stars 62 CH 5 | VYA KALE NI DHAHABU!—“OLD IS GOLD!” From Dust to Digital 67 Fundisha 72 Fathers, Brothers, Grandchildren 75 RESONATION Bibliography 5 LIST OF ILLUSTRATIONS Cover photo: Five senior musicians of Dar es Salaam, each of them still active members of the city’s live music scene (© Tanzania Heritage Project, 2012).