DOCSLIB.ORG

Balozi-Journal-Septemeber.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Balozi-Journal-Septemeber.Pdf Boaz Adhengo PUBLISHER Lloyd Ryan EXECUTIVE EDITOR Grace Wangechi MANAGING EDITOR BLOGGING EDITOR Evanson Nthiga ART DIRECTOR Lydia Marion SENIOR RESEARCH EDITOR Rukia Weisheit RESEARCH EDITOR Teresia Naomi CONTRIBUTORS EDITORIAL ASSISTANT Lucy Waheto Raphael Mumbo; Ndisya Maundu; Andrew Njihia; PROOFREADER Faith Shadora Florence Mutingu; Diana Akumu; Erick Mwachi, Sharon Okumu; Sandra Mugo; Fauzia Makena. Edward Knight UNITARIAN PATRON Jahwar Amber Fund Paul Misiko Chair Boaz Adhengo Director of Programs Faith Muthengi Director Educational Programs Winnie Nyokabi Director of Planning and Development Board of Directors Volunteer Coordinating Marshals Paula Hernderson, Seth Mutungi, Winnie Jackie Garford, Chris Ingham , Agnes Schnider, Nyokabi, Xavier Russel, Teresia Naomi, Anke Weisheit, Lucy Waheto, Sylvia Bracelet, Caroline Munyasa, Dantes Binnuto. Ombima Martin, Amanda Dickson, James Halbert. Rukia Abubakar DIRECTOR OF FINANCE C O N T E N T S Vintage Point 10 iii Get to know what programs JAF has and the chosen future direction for the journal Opinion Editorial 1 Enjoy the multiple viewpoint about Art, Religion and Culture Feature 7 Arguments about culture, stories of sexuality and a vision for development. Read on these descriptive excerpts PLUS much more. Adverts 6 Arterial Network 21 African Creative Economy Conference 23 When the rainbow is enuf 28 Going Home 8 Poetry 22 Read poems about Africa, the attempted Chaliceword 24 Attempt to fill in some common words in this puzzle that sparkles your brain. Unitarian Humour 27 A joke about an atheist who just said a Unitarian prayer. In Memory of Chinua Achebe 29 A dedicated page highlighting the best principles learnt by young scholars from our literature master, Chinua Achebe. Check out our blog www.jauufc.wordpress.com Like JAF on Facebook www.facebook.com/jauufc PREVIOUS EDITION Vol.6. No. 1 May 2013 Join the meeting www.meetup.com/jauufc Email the editor [email protected] VANTAGE POINT Human Rights for Artists Many months pass into time and we duely refer Artist is a descriptive term applied to a person to the ultimate as either a past or plainly, some who engages in an activity deemed to be an art. years. The very first editions of Balozi Journal An artist thus may be defined „unofficially‟ as a were spontaneous pieces of term papers person who expresses himself through a medium; published from a collective perspective of popularly, someone who can better express creating presence and a voice of hope from what himself better than others. was learn‟t in grad school. The diplomatic research as obtained from simulation exercises As a human rights organization, the Jahwar verified weighty considerations for our brand Amber Foundation has inclined towards use of name, and ultimately we grew to be advocates Art and promotion of the Artist as a way of for minority rights, not knowing what avenues representing its entire programs. We have a firm existed out there once we graduated. Today, belief that art is the most sophisticated and Balozi Journal has represented a diversity of therefore most powerful medium for social Want to talk to Adhengo? issues, from philosophy, politics and now commentary and communication, which is Reach him at [email protected] creativity; in this edition, we have focused on the important if a nation, continent and people must „Artist‟, his rights and the fate of such products evolve and survive. Inaugurated in 2011, the JAF Want to sign up for email created from the imaginative processes. Festivals plays a significant role in art and Notification on Adhengo’s column or to academic communities through organizing art read his past columns? Visit Art is considered a diverse range of human exhibitions, competitions, residencies and www.jauufc.net/resources/balozijournal activities and the products of those activities. workshops with the aim of unearthing and Until the 17th century, art referred to any skill or developing talent, creating societal awareness and mastery and was not differentiated from crafts or of importance, providing a platform to express sciences, but in modern usage, the fine arts creativity. where aesthetic considerations are paramount, art has been characterized in terms of mimesis, Understanding that not all artists share in the expression, communication of emotion, or other same cultural opportunities, and exploitation will values. Art has had a great number of different still persist in a country ranked fourth within the functions throughout its history, making its corruption index of Africa, we can only provide purpose difficult to abstract or quantify to any the voice for our members using this journal, but single concept. This does not imply that the of assurance that the foundation will champion to purpose of „Art is “vague”, but that it has had excel in its initial processes of restoring hope to many unique, different reasons for being created. the creative communities. The millennium development goals have outline access points towards elimination of poverty; art serves as such a vessel for twining economic Adhengo conceptualizations for adequate beginnings. Our cultural crafts remain our strength while our Adhengo Boaz mind transforms to the only pillars of hope we Director of Programs, have towards such laws that are loosely Jahwar Amber Fund represented. Artists have for a long time been exploited and made to represent the cream of poverty, while their products soothe the emotions of the rich. The law gives artists certain rights and recognizes property interests in intellectual products. These interests can be economic or non-economic, personality rights. Some people flinch when you talk We invite you to become an about art in the context of the needs of ASSOCIATE MEMBER society thinking you are introducing As an ASSOCIATE MEMBER of the Jahwar Amber Fund, you will receive something far too common for a two issues a year of the Balozi Journal. The entertaining and proactive journal keeps you up-to-date on African Unitarianism, news and activities discussion of art. Why should art have and provides a forum for members to share ideas and plans. a purpose and a use? Art shouldn‟t be Other benefits you will receive as an ASSOCIATE MEMBER include: concerned with purpose and reason and A 10% DISCOUNT ON: need, they say. These are improper. But Registration fees for conferences and seminars from the very beginning, it seems to Registration fees for JAF Nature Programs JAF Video Documentaries me, stories have indeed been meant to JAF Creative T – shirts and other merchandise be enjoyed, to appeal to that part of us I wish to support the work of Jahwar Amber Fund by becoming an which enjoys good form and good ASSOCIATE MEMBER! shape and good sound. Art is man‟s Associate Membership Type (check one): constant effort to create for himself a Student ($5/year) Faculty/Staff ($10/year) different order of reality from that Non – student ($15/year) Low Income ($5/year) which is given to him. Supporting ($50/year) Sustaining ($125/year) Lifetime ($500/year) “A man who calls his kinsmen to a feast Additional Donation: $ does not do so to save them from Total (membership + donation): $ starving. They all have food in their own homes. When we gather together in the moonlit village ground it is not because of the moon. Every man can see it in his own compound. We come Send Payment to: together because it is good for kinsmen Jahwar Amber Fund Cooperative Bank of Kenya – Coop House Branch to do so.” Account Number: 01105187200400 Swift Code: KCOOKENA ― Chinua Achebe, Things Fall Apart Opinion Editorial The London Kenya Gallery Bill Odidi A house modified by Kenyan poet 1935 in Kaimosi, in present day in Philosophy of Mathematics and author Khadambi Asalache is Vihiga County. He was the first from Birbeck, University of today an essential piece of the child of the local chief. He was London, and later got a job at Her artistic story of the British capital, the first child of the local chief. Majesty‟s Treasury. London. He was educated at Mang‟u High School, where he was given the The artistic juices were still Khadambi was among the pioneer Christian name, Nathaniel. His flowing in his veins, though, and generation of modern Kenyan love for literature began with he worked on television, writing writers in English, with his first reading Shakespearre as he and producing an episode of the novel, The Calabash of Life, watched over the family‟s herd of series Danger Man, set an published by Longman in 1967. goats during school holidays. African city, for British TV Channel, the ITV. The novel is set among the Tiriki He joined the Royal Technical people of western Kenya and the College (later, the University of It is said he he difficulty finding a internecine intrigue and fighting for Nairobi) in the 1950‟s to study publisher for his second book, chieftainship in the pre-colonial architecture before leaving the The Latecomer, and so he days. The protagonist, Shiyuka, sets country to learn fine art in Rome, negotiated a deal with the BBC out to reclaim the usurped Geneva and Vienna. Khadambi Africa Service, to run extracts leadership for his family life. eventually moved to London in from the book in January 1971. 1960. He taught Kiswahili and The subtext to the power struggle is got into broadcasting at the BBC Khadambi‟s collection of poetry, his love for Ayako, a girl from a African service. Sunset in Naivasha, was respected family. Their courtship published in 1973 and his poem, reflects traditional practice with the He settled in the UK and served Death of a Chief, was included eventual marriage between two on the council of management of in the Penguin Book of African people of noble blood. the Africa Center in London in Poetry in 1995.
Load more

Recommended publications
  • Discover 575Wandsworth Road
    Discover 575 Wandsworth Road Khadambi covered his house, why not decorate yours! 575 Wandsworth Road is a small house on a busy London with a magical secret. It was owned by a man called Khadambi Asalache, who was born in Kenya and travelled to England to become a writer. 1. Take some paper and draw some shapes like the ones below and on the other side 2. Cut them out, decorate them and create your own wall hanging! You can use paper or sellotape to stick them together! 3. What about making your own shapes? Like Khadambi, get inspired by looking & Photo Credit Gered Mankowistz listening what is around you! Your brain is magic 4. Have a think about what else you can create shapes with, perhaps make some 3D shapes using pipe cleaners! Discover more at www.nationaltrust.org.uk www.agoraartscircle.com You can cut these too! Inspired by his travels as a young man, inside almost every wall, ceiling and door is covered in hand carved wooden decoration, which Khadambi created using pieces of scrap wood he found in skips to cover up a damp patch he had in his basement. Even though he had no training in carving, he was able to use his creativity and over 20 years, turned his home into a work of art. Khadambi decorated his home with objects he collected from his travels from places like Istanbul, Morocco and Tanzania – or things he discovered in local junk shops or antique fairs. Senegalese Wall Hangings - Senegal is a country in West Africa Discover more at www.nationaltrust.org.uk www.agoraartscircle.com.
    [Show full text]
  • U DSG Papers of Howard Sergeant, Including [1930]-1995 the Archives of 'Outposts' Poetry Magazine
    Hull History Centre: Howard Sergeant, inc 'Outposts' poetry magazine U DSG Papers of Howard Sergeant, including [1930]-1995 the Archives of 'Outposts' poetry magazine Biographical Background: Herbert ('Howard') Sergeant was born in Hull in 1914 and qualified as an accountant. He served in the RAF and the Air Ministry during the Second World War and with the assistance of his friend Lionel Monteith, edited and published the first issue of his poetry magazine 'Outposts' in February 1944. Outposts is the longest running independent poetry magazine in Britain. Sergeant had been writing poetry since childhood and his first poem to be published was 'Thistledown magic', in 'Chambers Journal' in 1943. 'Outposts' was conceived in wartime and its early focus was on poets 'who, by reason of the particular outposts they occupy, are able to visualise the dangers which confront the individual and the whole of humanity, now and after the war' (editorial, 'Outposts', no.1). Over the decades, the magazine specialised in publishing unrecognised poets alongside the well established. Sergeant deliberately avoided favouring any particular school of poetry, and edited 'Mavericks: an anthology', with Dannie Abse, in 1957, in support of this stance. Sergeant's own poetry was included in the first issue of 'Outposts' (but rarely thereafter) and his first published collection, 'The Leavening Air', appeared in 1946. He was involved in setting up the Dulwich Group (a branch of the British Poetry Association) in 1949, and again, when it re-formed in 1960. In 1956, Sergeant published the first of the Outposts Modern Poets Series of booklets and hardbacks devoted to individual poets.
    [Show full text]
  • Crossness Pumping Station
    RACHEL HOWARD AND BILL NASH SECRET LONDON AN UNUSUAL GUIDE SECRET AN UNUSUAL GUIDE AN UNUSUAL LONDON JONGLEZ PUBLISHING WESTMINSTER TO CAMDEN SHERLOCK HOLMES ROOM 41 21b Baker Street is by far the best-known fictional address in Dining next to the detectives 2London. However, as conceived by Arthur Conan Doyle, the rooms where Sherlock Holmes and Dr John Watson lived never actually existed The Sherlock Holmes, 10 Northumberland Street, WC2N 5DB – at the time the stories were written, house numbers on the street only 0207 930 2644 went as high as 85 before Baker Street became York Place. In the 1930s, www.sherlockholmes-stjames.co.uk Sun-Thurs 8am-11pm, Fri-Sat 8am-12pm Baker Street was extended. The Abbey National Building Society moved Admission free into 219–229 Baker Street, and a full-time secretary was employed to Charing Cross or Embankment tube answer mail addressed to the great detective. In 1951, as part of the Festival of Britain, the building society staged an exhibition at its offices, re-creating the sitting room of 221b according to the plans of theatre designer Michael Weight. The exhibition was so successful that it was relocated to New York in 1952. In 1957, it was moved again: brewing giants Whitbread refurbished a small hotel they owned called the Northumberland Arms, and reopened it as the Sherlock Holmes. The pub is full of Holmesiana, but the pièce de résistance is the Sherlock Holmes Room, reconstructed in a closed-off corner of the restaurant on the first floor. It’s a little bit odd – you stare through the glass while oblivious diners eat away – but the attention to detail is worth it.
    [Show full text]
  • The Celebration of Nature by East African Poets: a Focus on Kenya, Uganda and Tanzania
    \ THE CELEBRATION OF NATURE BY EAST AFRICAN POETS: A FOCUS ON KENYA, UGANDA AND TANZANIA Jedidah Kibutu A THESIS PROJECT SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE MASTER OF ARTS DEGREE IN LITERATURE AT THE UNIVERSITY OF NAIROBI UN w » s r t ,p : University of NAIROBI Library . l B K K R t 0451731 4 JUNE, 2012 DECLARATION This thesis is my original work and has not been presented for a degree in any other university Signature . ______ Jedidah Kibutu (Candidate) Date 12, This thesis has been submitted for examination with our approval as University Supervisors Signature Professor Monica Mweseli (Supervisor) . Date 2 01 2- Signature! Anna Petkova Mwangi (Supervisor) Date 0-8 J tjyut DEDICATION I dedicate this work to Almighty God, for seeing me through; for being there for me through it all. "The name of the Lord is a strong tower; the righteous runs to it and is safe” Proverbs 18:1 ONKJV ii ACKNOWLEDGEMENT I am deeply thankful to my two Supervisors, Professor Monica Mweseli and Anna Petkova Mwangi for their caring attitude and the dedicated guidance they gave me. I am privileged to have had them as my supervisors, helping me to sharpen my research skills and making me a better researcher. I owe a debt of gratitude to Professor Peter Wasamba and Professor David Kiiru for support given me in numerous ways. My sincerest appreciation also goes to Professor Wanjiku Kabira and Professor Ciarunji Chesaina for their confidence in me. Mention also goes to Professor Henry Indangasi and Professor Chris Wanjala, and all the members of the faculty for their dedicated guidance in lectures and academic presentations.
    [Show full text]
  • Publishing Outposts on the Kenyan Literary Landscape: a Critique of Busara, Mũtiiri and Kwani?
    PUBLISHING OUTPOSTS ON THE KENYAN LITERARY LANDSCAPE: A CRITIQUE OF BUSARA , MŨTIIRI AND KWANI? DOUGLAS MACHARIA MWANGI A Thesis Submitted in Fulfilment of the Requirements for the Award of the Degree of Doctor of Philosophy in Literature at the University of Nairobi 2015 DECLARATION This thesis is my original work and has not been submitted for examination or award of a degree in another university: Signature: _______________________ Date__________________ Douglas Macharia Mwangi This thesis has been submitted for examination with our approval as university supervisors: 1st Supervisor: Signature: _______________________ Date__________________ Dr. Tom Odhiambo 2nd Supervisor: Signature: _______________________ Date__________________ Dr. Jennifer Muchiri ii I dedicate this work to Hannah Nyar ũir ũ, for her unwavering support; to Michelle M ũir ũ and Sharleen Wanja, who cheered me up along the way; and to the memory of Peter Mwangi, my dad who passed the baton before he passed on. iii ACKNOWLEDGEMENTS I wish to thank all the people who facilitated the successful completion of this study. First, I am grateful to my supervisors, Dr. Tom Odhiambo and Dr. Jennifer Mũchiri, for giving me insights which helped shape and give direction to my research undertaking right from the proposal stage. Thank you too for providing me with crucial reading materials, for the patience, and the constant reminder that I needed to get done with the research. I am also thankful to other members of staff in the Department of Literature at the University of Nairobi. I thank Prof. Chris Wanjala for the encouragement he gave me in the course of the study. His extensive research on East African literature has been a major source of reference for this study.
    [Show full text]
  • London an Unusual Guide Rachel Howard and Bill Nash
    SECRET LONDON AN UNUSUAL GUIDE RACHEL HOWARD AND BILL NASH JONGLEZ PUBLISHING WESTMINSTER TO CAMDEN SHERLOCK HOLMES ROOM 40 21b Baker Street is by far the best-known fictional address in Dining next to the detectives 2London. However, as conceived by Arthur Conan Doyle, the rooms where Sherlock Holmes and Dr John Watson lived never actually existed The Sherlock Holmes, 10 Northumberland Street, WC2N 5DB – at the time the stories were written, house numbers on the street only 0207 930 2644 went as high as 85 before Baker Street became York Place. In the 1930s, www.sherlockholmes-stjames.co.uk Open: Sun-Thurs 8am-11pm, Fri-Sat 8am-12pm Baker Street was extended. The Abbey National Building Society moved Admission: Free into 219–229 Baker Street, and a full-time secretary was employed to Transport: Charing Cross or Embankment tube answer mail addressed to the great detective. In 1951, as part of the Festival of Britain, the building society staged an exhibition at its offices, re-creating the sitting room of 221b according to the plans of theatre designer Michael Weight. The exhibition was so successful that it was relocated to New York in 1952. In 1957, it was moved again: brewing giants Whitbread refurbished a small hotel they owned called the Northumberland Arms, and reopened it as the Sherlock Holmes. The pub is full of Holmesiana, but the pièce de résistance is the Sherlock Holmes Room, reconstructed in a closed-off corner of the restaurant on the first floor. It’s a little bit odd – you stare through the glass while oblivious diners eat away – but the attention to detail is worth it.
    [Show full text]
  • We Hope That You Like Our Create & Learn Playkits. They Are Full Of
    Hello! We hope that you like our Create & Learn PlayKits. They are full of activities and things to do in your own home. These PlayKits have been put together by a group of organisations from Wandsworth. We have all been working together to try and make sure that children aged 6-10 years old have got something fun to do, are able to make things and have got the materials to do that with. We really encourage you to be creative, use the scissors and glue to make something new. Draw a picture, write in your notebook, colour in the pictures that we have included and draw some new ones of your own. We have also included some other activities that you might like to do, whether it’s dancing in your living room, visiting a museum online or some good old fashioned storytelling. We hope that you can find something that you enjoy and maybe can share with your family or friends. If you make anything that you like and you’d like to share it with us, please do. Ask a family member to help you upload the image to Twitter, Instagram or Facebook, and use the hashtag #create&learnplaykits ​ We’re planning to get some more Create & Learn Activities out to you soon. Do let us know what you liked doing, what you might like more of and what was the most fun to do. You can do that by sending an email to Marina on [email protected]. ​ ​ We hope that you like the bags: they’re yours to keep - you can fill them with your pictures, or a picnic, or your dirty washing! Enjoy making stuff, and remember, there are no mistakes when you’re being creative, it’s all good to try.
    [Show full text]
  • Khadambi Asalache.Pdf
    Khadambi Asalache Kenyan poet and novelist who transformed his London home into a work of art that combined the cultures of many lands February 28, 1935 - May 26, 2006 STRIKING to look at, with his almost blue-black Masai colouring and height, Khadambi Asalache hid his many talents under a gentle personality. He was a private man, an idealistic aesthete who had learnt to view life with amusement. Born in 1935 in Kaimosi, western Kenya, the first child of the local chief, he showed his literary bent early by herding cattle with a volume of Shakespeare in his free hand. His father sent him to the best school available, the Holy Ghost Fathers’ Mangu High School, which gave him a Christian name, Nathaniel, so some friends always called him Nat. He remained free of any faith and sceptical of all forms of government — starting with the tribal. He went to the Royal Technical College, Nairobi, to read architecture but was diverted while at a students’ conference in Tunisia and spent the next few years in Rome, Geneva and Vienna, where he studied fine art, moving to London in 1960. There he survived by teaching Swahili at the Berlitz School, working for the BBC African Service and doing some architecture and garden landscaping, while he wrote fiction and poetry. His first novel, The Calabash of Life, came out in 1967. It is about a more practical Hamlet figure in Kenya who opposes the usurper chief. It went into ten editions worldwide and was on the syllabus of many schools in Africa, putting Asalache among the most serious writers in the burst of East African novels in English in the 1960s and 1970s.
    [Show full text]