rizk2007

Rizk, Mohamed El-Mohammady:
Women in Taarab. The Performing Art in East Africa.
Schriften zur Afrikanistik / Research in African Studies, Band 11.
Frankfurt am Main: Peter Lang, Europäischer Verlag der Wissenschaften, 2007. 198 p.
ISBN 978-3-631-53208-9

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

  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

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  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

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  • Johnson, John William:
    ‘Heelloy’. Modern Poetry and Songs of the Somalis.
    London: HAAN Publishing, 1998. xxiii & 241 p.
    ISBN 978-1-874-20981-2

    CONTENTS

    Foreword to the first edition by B. W. Andrzejewski ix
    Foreword to the 1996 edition by Abdilahi Qarshi xi
    Preface to the first edition xv
    Preface to the 1996 edition xxiii

    1. Introduction
    The social context 1
    The Nature of Traditional Pastoralist Poetry 12
    The Historical Development of Modern Oral Poetry 17

    2. The Family of Miniature Genres
    The Nature of the Family of Miniature Genres 27
    The Poetry of the Miniature Family 32

    3. The emergence of the Belwo
    The Historical Background 49
    The Belwo is Born 53
    The Poetry of the Belwo 59

    4. The Heello: Period One
    The Metamorphosis: Belwo to Heello A 75
    The Modem Poem: Heello A to Heello B 82

    5. The Heello: Period Two
    The Historical Background 95
    The Poetry of the Second Period 103

    6. The Heello: Period Three
    The Historical Background 117
    The Poetry of the Third Period 146

    7. Characteristics of the Heello: All Periods
    Themes Common to All Periods 175
    Structural Characteristics and
    Development Common to All Periods 190
    The Impact of Media on Modern Poetry 208

    8. Conclusion
    The Inheritance of the Heello 215
    Forces Behind the Success and Development of Modern Poetry 216

  • Collins, [Edmund] John:
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    ISBN 978-0-8195-7539-5 (paper) 978-0-8195-7540-1 (ebook)

    CONTENTS

    Foreword by Banning Eyre ix
    Introduction 1

    Part 1 Early Days
    1 The Birth of Afrobeat 27
    2 Joe Mensah Remembers 41
    3 Fela in Ghana 49
    4 Stan Plange Remembers 29

    Part 2 Confrontation
    5 Kalakuta is Born 67
    6 “JB” Talks about Fela 73
    7 The Kalakuta Republic 81
    8 The Black President 114
    9 Amsterdam and After 125

    Part 3 Retrospect
    10 Mac Tontoh on Fela 139
    11 Frank Talk about Fela 152
    12 Obiba Plays It Again 165
    13 Smart Binete Sorts It Out 174
    14 Anku Checks Out the Beat 178
    15 Nana Danso Orchestrates 183
    16 Some Early Afro-Fusion Pioneers 197
    17 Interview with Fela 204
    18 Afterthoughts and Updates 209
    19. Felabrations at Home and Abroad 238

    Chronology 259
    Notes 269
    Selected Bibliography 281
    Discography 285
    Appendix A: “Shuffering and Shmiling” Score 303
    Index 309

  • Erlmann, Veit (ed.):
    Populäre Musik in Afrika.

    Veröffentlichungen des Museum für Völkerkunde.
    Neue Folge 53. Abteilung Musikethnologie VIII.
    Berlin: Museum für Völkerkunde, 1991. 312 pp. & 2 CDs.
    ISBN 3-88609-213-5

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  • Sweeney, Philip:
    Directory of World Music. A Guide to Performers and their Music.
    With Contributions from Peter Gabriel, Andy Kershaw, Giberto Gil [&] Manu Dibango.
    London: Virgin Books, 1991. 262 p.
    Section Africa 1-81
    ISBN 0-86369-378-4

    sweeney1991CONTENTS

    AFRICA

    The North and West
    Introduction: Peter Gabriel 1
    Libya 3
    Tunisia 5
    Algeria 6
    Morocco 13
    Mauritania 16
    Senegal 17
    Mali 20
    Guinea 26
    Guinea-Bissau 29
    Cape Verde 29
    Sierra Leone 31
    Côte d’Ivoire 32
    Ghana 34
    Togo and Benin 36
    Nigeria 37

    Central Africa, The South and East
    Introduction: Manu Dibango 42
    Cameroon 44
    Zaire 49
    Congo 56
    Gabon 56
    Angola 57
    Zambia 58
    Mozambique 59
    Zimbabwe 60
    South Africa 65
    Madagascar 70
    Mauritius and Reunion 71
    Tanzania and Zanzibar 72
    Kenya 74
    Uganda 76
    Burundi 76
    Ethiopia 77
    Sudan 79

  • Lee, Hélène:
    Rockers d’Afrique. Stars et légendes du rock mandinque.
    Paris: Albin Michel, 1988. 223 pp.
    ISBN 2-226-03 139-1 

    TABLE DE MATIÈRESafropop1995

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