rizk2007
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Rizk, Mohamed El-Mohammady: |
CONTENTS
Chapter 1
1.0 Introduction 13
1.1 Aim and objective of the study 13
1.2 Swahili poetry 14
1.2.1 Various versions 16
1.2.2 What is taarab? 17
1.3 Research questions 21
1.4 Swahili language 21
1.5 Swahili people 22
1.6 Zanzibar 23
1.6.1 History of Zanzibar 25
1.6.2 The advent of taarab 26
1.7 Swahili culture 29
1.8 Methodology 30
1.8.1 Transcription 32
1.8.2 Translation 32
1.9 Taarab songs, folklore, cultural and literary
theories of orature 33
1.10 Gender theories 34
1.11 Approach 37
Chapter 2
2.0 The cultural milieu of the songs 39
2.1 The relativism and universalism theory in relation
to taarab songs 39
2.2 Metaphors and symbols referring to women in taarab 43
2.3 The thematic scope 45
2.3.1 The physical milieu 45
2.3.2 The intellectual milieu 46
2.3.3 The psychological milieu 48
2.4 Sources of imagery in relation to relativism and universalism 49
2.4.1 Imagery stemming from the Swahili environment 51
2.4.2 Imagery quoted from the Holy Quran 51
2.4.3 Imagery stemming from the Arabic culture 52
2.5 Orality and scripturality: the distinction of taarab
songs from other Swahili songs 52
2.5.1 Songs sung before 1945 and their characteristics 55
2.5.2 Songs sung after 1945 and their characteristics 61
2.6 The distinction of taarab songs from other Swahili songs 63
2.6.1 Drum songs (ngoma) 63
2.6.2 Melodious music 65
2.6.2.1 Muziki wa dansi ‘dance music’ known also
as “urban jazz” 65
2.6.2.2 Taa-rap ‘rap music’ 65
2.6.2.3 Kidumbak 67
2.6.2.4 Taarab ya wanawake ‘women’s taarab’ 68
2.6.2.5 Modern taarab 69
2.6.2.6 Ideal taarab 69
Chapter 3
3.0 The analysis 71
3.1 Performance 71
3.1.1 The singer 72
3.1.2 The chorus 74
3.1.3 The audience 75
3.1.4 Musical accompaniment 75
3.1.5 The singer/audience divide 75
3.2 The linguistic aspect of the lyrics 76
3.2.1 Simplicity/transparency and obscurity/
opacity in taarab lyrics 77
3.2.2.1 Prosody 79
3.2.2.2 Morphological and syntactical features
of taarab lyrics 80
3.2.3 Figures of speech etc. 85
3.2.3.1 Metaphor 86
3.2.3.2 Simile 87
3.2.3.3 Personification 88
3.2.3.4 Anaphora 88
3.2.3.5 Parallelism 89
3.2.3.6 Alliteration 89
3.2.4 The social and cultural world and the creation
of meanings 90
3.3 Women participation in taarab 92
3.3.1 Women as composers 92
3.3.2 Women as singers 93
3.3.3 Women as audience 95
3.4 Women in taarab lyrics 95
3.4.1 Imagery and implications 95
3.4.1.1 Physical description 96
3.4.1.2 Love and marriage 98
3.4.2 The role of imagery to underscore femininity 101
3.4.2.1 Women as flowers 103
3.4.2.2 Women as fruits 104
3.4.2.3 Women as birds 105
3.4.2.4 Women as heavenly bodies 107
3.4.2.5 Women as Satans 108
Chapter 4
4.0 Conclusion 111
4.1 The concept of taarab as a performing art 111
4.2 The concept of taarab as local music 111
4.3 The concept of taarab as world music 112
4.4 The concept of taarab as unstable “art form” 112
4.5 “Relativism” and “Universalism” in relation to
Swahili taarab lyrics 113
4.6 Gender aspects, gender relation, negotiation of
gender positions 113
4.7 Marked linguistic features/aspects emanating from
the taarab lyrics 114
Bibliography 117
Appendix I (Songs sung before 1945) 125
Appendix II (Songs sung after 1945) 141
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