East Africa – 2 or more countries, Books

Barz, Gregory:
Music in East Africa.
Experiencing Music, Expressing Culture.
New York, N.Y. & Oxford: Oxford University Press, 2004. 139 p. & CD
ISBN 978-0-19-514152-8

CONTENTS

Foreword xi
Preface xiii
CD Track List xvii

1. Heating Up!
East Africa 1
Traditional Music Performance: The Example of Ngoma 4
What is “Music” in East Africa? 5
Greetings 8
Conclusion 14

2. Traditional Performances in Two Villages and a Town
Introduction 16
Case Study #1: Nyanhugi Village, Sukumaland, Tanzania 18
Case Study #2: Bugwere Village, Busoga Region,
Eastern Uganda 25
Case Study #3: Kisumu Town, Western Kenya 33
Musical Transcription 36
Gender and Traditional Music Performance in East Africa 37
Conclusion 38

3. Fostering Social Cohesion: Competition and Traditional Musical Performance
Introduction: Competition as Social Cohesion 40
Case Study #1: Bulabo in Sukumaland, Tanzania 41
Bufumu 47
Bagaalu and Bagiika Dance Societies 47
Samba 48
Changes and Adaptation in Bulabo 49
Case Study #2: Choir Competitions in Dar es Salaam 52
Vignette 1: The Initial Evangelical Encounter 53
Vignette 2: The Emergence of Tanzanian Voices 55
Vignette 3: A Postcolonial Moment 56
Conclusion 58

4. Individuals in East African Musical Worlds:
Gideon Mdegella and Centurio Balikoowa
Introduction 59
Vignette 1: Gideon Mdegella 62
Vignette 2: Centurio Balikoowa 63
Communities and Musical Specialists 63
Gideon Mdegella: “Mwalimu” 64
Mwalimu wa Kwaya: Ritual-Musical Specialists in the Tanzanian Lutheran Church 65
“I Am Able to See Very Far, but I Am Unable to Reach There” 66
Mdegella and “First-Class Music” 75
Centurio Balikoowa 75
Background 76
Musical Instruments 78
Endere (Flute) 78
Endingidi (Tubefiddle) 81
Construction of the Endingidi 82
Ntongooli (Bowl Lyre) 84
Personal History 86
Conclusion 88

5. Situating Traditional Music within Modernity
Introduction 89
Vignette: Anthems and Identity 90
Case Study #1: Mu Kkubo Ery ‘Omusaalaba 101
Basic Tenets of Kiganda Traditional Music 102
Issue of Timbre 102
Drumming 104
Issue of Interlocking Patterns 106
Case Study #2: “The Roots of Benga” 108
D. O. Misiani, the “King” of Benga 111
Conclusion: Popular versus Traditional – “Modernity Happened!” 114

6. Cooling Down!
Introduction 118
Traditional Music and the Interrelation of the Arts in East Africa 118

Glossary 124
Resources 126
Index 137

CD Track List

01
Greetings in the Lulamoogi/Lugwere dialect of the Lutenga language of Busoga, eastern Uganda, “spoken” by members of the Bakuseka Majja Women’s Group in Kibaale village, 1999. Used by permission of Centurio Balikoowa.
02 & 03
Filulu performance by Charles Bungu in Nyanhugi village, Sukumaland, Tanzania, 1999. Used by permission of Charles Bungu.
04
Excerpt of Bugóbogóbo by the Bana Sesilia Group of the Bujora Cultural Centre, Bujora, Tanzania, 1999. Used by permission of Charles Mahenda, Bujora Cultural Center.
05
“Muliranwa” [“My Neighbor”], embaire performance by the Ekidha Tobana Kabaliga Group in Bugwere village, Uganda 1999. Used by permission of Centurio Balikoowa.
06
Excerpt, Chakacha, performed by the Horizon Players Group and the Choir from the Muslim Secondary School, Kisumu, Western Kenya. Used by permission of Lawrence Chiteri.
07
Excerpt illustrating the processional from the church at Bujora, Sukumaland, down the mountain to the Bulabo ceremonial stadium in Kisesa, 1999. Used by permission of Gregory Barz.
08
An example of wigaashe recorded at the Bulabo competition, 1999. Used by permission of Charles Mahenda, Bujora Cultural Center.
09
“Mahali ni Pazuri” [“This Place is Beautiful”], second verse, sung at a Mashindano ya Kwaya held at Kariakoo Lutheran Church in Dar es Salaam, 1993. Used by permission of Gideon Mdegella, Lutheran Choir Community Leader.
10
Wimbo wa KiHehe, a KiHehe melody, sung by the choir of the Mikocheni Anglican Church at a Mashindano ya Kwaya held at St. Alban’s Anglican Church, Dar es Salaam, 1993. Used by permission of Gideon Mdegella, Lutheran Choir Community Leader.
11
“Sikieni Neno” [“Hear the Word”], a WaGogo melody, sung by the Kwaya ya Vijana of Kariakoo Lutheran Church, Dar es Salaam, 1993. Used by permission of Erneza Madeghe, Kariakoo, Lutheran church.
12
Author’s interview with Gideon Mdegella, mwalimu, Kwaya ya Upendo, Azania Front Lutheran Cathedral, Dar es Salaam, 1994. Used by permission of Gideon Mdegella.
13
” ‘Sikiliza,’ Asema Bwana, ” Gideon Mdegella, composer and conductor, recording of a rehearsal of Kwaya ya Upendo, Azania Front Lutheran Cathedral, Dar es Salaam, 1994. Used by permission of Gideon Mdegella.
14
Tuning demonstration on the endere (flute), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
15
“Oo samba bambalele,” a demonstration on the short endere (flute), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
16
Demonstration on the long endere (flute), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
17
Demonstration of the scale used on the endingidi (tubefiddle), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
18
Endingidi (tubefiddle) medley, performed by Centurio Balikoowa and Gregory Barz (“Adimudong’,” “Twalamatagange,” and a piece from the Central Region), 1999. Used by permission of Centurio
Balikoowa and Gregory Barz.
19
Demonstration of elaboration on the endingidi (tubefiddle), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
20
Demonstration of the tuning of the ntongooli (bowl lyre), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
21
Demonstration of the ntongooli (bowl lyre), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
22
Demonstration of tuning of “Twalamatagange” on ntongooli (bowl lyre) and endingidi, performed by Centurio Balikoowa and Kiria Moses, 1999. Used by permission of Centurio Balikoowa.
23
Medley: Performance of the Ugandan National Anthem, “Oluyimba Lwe’eggwanga (Ebbona lya Afirika)” [“The Pearl of Africa”], the Buganda Anthem, “Ekitiibwa kya Buganda” [“The Pride of Buganda”], and the Africa House Anthem, “Marching Along,” per¬formed by students at Makerere College School, 2002. Used by per¬mission of Kitogo George Ndugwa, leader.
24
Demonstration of endingidi playing, performed by Kiria Moses, endingidi and voice, 1999. Used by permission of Centurio Balikoowa (for Kiria Moses).
25
Blair String Quartet demonstrates the timbre of endingidi in “Mu Kkubo Ery “Omusaalaba.” Used by permission of Mark Wait, Blair School of Music.
26
Demonstration of the baakisimba drum, the rhythm associated with Baakisimba, performed by Gregory Barz, 1999. Used by permission of Gregory Barz.
27
Blair String Quartet demonstrates the drumming in “Mu Kkubo Ery ‘Omusaalaba.” Used by permission of Mark Wait, Blair School of Music.
28
Demonstration of Omunazi, Omwawuzi, and Omukonezi parts played by Kiria Moses, Waiswa, and Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa (for himself, Waiswa, and Kiria Moses).
29
The Blair String Quartet demonstrates interlocking parts in “Mu Kkubo Ery ‘Omusaalaba.” Used by permission of Mark Wait, Blair School of Music.
30
Andericus Apondi, nyatiti, demonstrates the Benga guitar style on nyatiti, Kisumu, Kenya. Used by permission of Peter Nyamenya, Kisumu Museum, National Museums of Kenya.
31
“Jo Piny,” performed by Kabila Klan, Kisumu, Kenya. Used by permission of Lawrence Oyuga, director.
32
“Kumbaya,” performed by the congregation of the Power of Jesus Around the World Church, Kisumu, Kenya. Used by permission of Peter Nyamenya, Kisumu Museum, National Museums of Kenya.
33
Foreign terms introduced in this volume, pronounced by the author.

Gunderson, Frank & Gregory Barz (eds.):
Mashindano! Competitive Music Performance in East Africa.
Dar es Salaam: Mkuki na Nyota Publishers, 2000. 468 p.
ISBN 9976-973-829

CONTENTS

Map of East Africa viii
Contributors ix

Terence Ranger
Foreword 1

Part 1: Introduction

1. Frank Gunderson
“Kifungua Kinywa” or Opening the Contest with Chai 7

Part 2: Significant Rivals and Scandals

2. Kelly M. Askew
    Following in the Tracks of Beni: The Diffusion of the Tanga Taarab Tradition 21
3. Janet Topp Fargion
    “Hot Kabisa!” The Mpasho Phenomenon and Taarab in Zanzibar 39
4. Mwenda Ntarangwi
    Malumbano or Matukano: Competition, Confrontation, and (De)
    Construction of Masculinity in the Taarab of Maulidi and Bhalo 55
5. Siri Lange
    Muungano and TOT: Rivals on the Urban Cultural Scene 67
6. Joseph L. Mbele
    Gindu Nkima: A Sukuma Heroine 87

Part 3: Rites of Passage

7. Peter Pels
    Kizungu Rhythms: Luguru Christianity as Ngoma 101
8. Laura Fair
    Identity, Difference, and Dance:
    Female Initiation in Zanzibar, 1890 to 1930 143

Part 4: Community and Identity

9. E. Kezilahabi
     Ngoma Competitions in Traditional Bakerebe Society 175
10. James Ellison
      Competitive Dance and Social Identity:
      Converging Histories in Southwest Tanzania 199
11. Frowin Paul Nyoni
      The Social Significance of Mganda-wa-Kinkachi Dance
      Contests Among the Matengo 233
12. Elise Johansen
      Makonde Mask Dance: Performing Identity 255
13. Peter Cooke & Okaka Opio Dokotum
      Ngoma Competitions in Northern Uganda 271
14. Peter Jan Haas & Thomas Gesthuizen
      Ndani ya Bongo: KiSwahili Rap Keeping it Real 279
15. Werner Graebner
      Ngoma ya Ukae: Competition Social Structure in Tanzanian
      Dance Music Songs 295

Part 5: Historical Imaginings

16. Lisa Gilman
      Putting Colonialism into Perspective: Cultural History and
      the Case of Malipenga Ngoma in Malawi 319
17. Rebecca Gearhart
      Rama Maulidi: A Competitive Ritual Ngoma in Lamu 347
18. Stephen Hill
      Mchezo Umelala [“The Dance has Slept”]: Competition,
      Modernity, and Economics in Umatengo, Tanzania 367
19. Gregory F. Barz
      Politics of Remembering: Performing History(-ies) in Youth
      Kwaya Competitions in Dar Es Salaam, Tanzania 379
20. Frank Gunderson
      Witchcraft, Witcraft and Musical Warfare: The Rise of the Bagiika-
      Bagaalu Music Competitions in Sukumaland, Tanzania 407

Part 6: Epilogue

21. Gregory F. Barz
Tamati: Music Competition and Community Formation 421

Works Cited 429
Index 447

Njogu, Kimani & Hervé Maupeu (eds.):
Songs and Politics in Eastern Africa.
Dar es Salaam: Mkuki na Nyota Publishers /
Nairobi: l’Institute francais de recherche en Afrique (IFRA), 2007. 401 p.
ISBN 978-9987-449-42-5

CONTENTS

Foreword xi

1
Kimani Njogu
Religious Versification:
From Depoliticisation to Repoliticisation 1

2
Hervé Maupeu
L’intellectuel populaire et l’imaginaire politique :
Le cas de Joseph Kamaru 23
Kamaru, un prophète kikuyu chrétien 28
La religion prophétique comme cadre de compréhension
du politique 32
– Une pédagogie du changement 32
– Une théorie de la causalité 35
Kamaru et le renouveau du nationalisme kikuyu 36
– Un leader et pas un despote 37
– Les elections comme mode populaire d’action politique 40
– Les femmes et le nationalisme kikuyu contemporain 42
– Conclusion : Kamaru et les autres mises en scène kikuyu
de la nation 45

3
Michael W. Mwaũra
Artistic Discourse and Gender Politics in the
Gĩkũyũ Popular Song 49
Approach and Method 50
Roots in Patriarchy of Popular Song Expression 51
Patriarchal Narrations 53
Entry of the Queen: The Woman Talks back 62
Conclusion 70

4
Mwangi P. Mũhoro
The Poetics of Gĩkũyũ mwomboko: Narrative as a Technique
in HIV-AIDS Awareness Campaign in Rural Kenya 73
Introduction 73
Socio-historical Origins of Mwomboko Poetry 74
Performance of Mwomboko Poetry 77
Arrangement and Dance Movements in Mwomboko 78
Music and Entertainment in Response to HIV-Aids Awareness 82
The Language of Mwomboko Singers 84
Conclusion 92

5
Aurélia Ferrari
Hip-Hop in Nairobi: Recognition of an International Movement and the Main Means of Expression for the Urban Youth in Poor Residential Areas 107
From Street “Free Style”, to the Studio, to the Stage:
The Case of Kalamashaka and Mau Mau Camp 110
– The Beginning of Hip-Hop in Nairobi 110
– Different Influences 111
– The Beginning of Success 112
– Problems Encountered 115
– The Rappers’ Hopes 116
Lyrics: The Division between Militant and Non-Militant Rap 117
– Language of Choice 117
– Major Themes Covered 118
– Conclusion 124

6
Musambayi Katumanga
Folk Poetry as a Weapon of Struggle: An Analysis of the
Chaka Mchaka Resistance Songs of the National Resistance
Movement/Army of Uganda 129
– Introduction 179
Resistance Process and Mobilisation 130
– Mosaic Types 138
– Fixed Line Folklores 142
– Native Poetics 147

7
Maina wa Mũtonya
Ethnic Identity and Stereotypes in Popular Music:
Mugiithi Performance in Kenya 157
– Introduction 157
Music and Identity 162
Stereotypes and Ethnic Identity 164
Cultural Nights 170
Mau Mau Lyrics 170
Conclusion 172

8
Adams Oloo
Song and Politics: The Case of D. Owino Misiani 177
– Introduction 177
Luo Music and the Kenyan Political Scene 181
Owino Misiani 182
Beyond Kenya: Misiani on Governance in Africa 183
Analysing the Kenyan Political Scene through Music 185
Change of Tactic:
From Controversy to Support for the Government 192
Return to Controversy193
Conclusion 198

9
Bantu Mwaura
Orature of Combat: Cultural Aesthetics of Song as
Political Action in the Performance of the Mau Mau Songs 201
The Aesthetics of Gĩkũyũ Orature in the Mau Mau Songs 204
Song as Political Action 216
Song as Orature of Combat 220

10
Herbert F. Makoye
Resistance and Performance Dynamics: The Case of
Busungusungu Vigilantes’ Dance of the Sukuma of Tanzania 225
– Introduction 225
The Sukuma and Sungusungu 226
Dance and Song as a Means of Communication 228
Conclusion240

11
Frowin Paul Nyoni
Music and Politics in Tanzania:
A Case Study of Nyota-wa-Cigogo 241
– Introduction 241
Music forms in Tanzania 247
– Kwaya 242
– Taarab 243
– Jazz-band 244
– Dance 245
– Ngonjera 246
Historical Overview of Music and Politics in Tanzania 246
– The Early Days of Independence 246
– The Arusha Declaration 248
– Party Supremacy and its Control over the Arts 249
– Democratisation process (multiparty political system) 252
Case Study: Nyota-wa-Cigogo 253
– Nyota-wa-Cigogo: Performance 261
Conclusion 270

12
Mwenda Ntarangwi
Hip-Hop, Westernization and Gender in East Africa 273
– Introduction 273
The Emergence of Hip-Hop in East Africa 275
Hip-Hop in East Africa: A New Penomenon or Old Tradition? 281
Hip-Hop and Westernization 284
Hip-Hop and Gendered Identities 290
Conclusions 299

13
Rayya Timammy
Thematising Election Politics in Swahli Epic:
The Case of Mahmoud Abdulkadir 303

14
Alice Bancet
Formation of a Popular Music: Hip-Hop in Tanzania 315
– Introduction 315
– Hip-Hop: A Definition 316
Globalisation of a Culture: The Case of Tanzanian Hip-Hop 318
– From New York Ghettos to Dar es Salaam 318
– Introduction of Hip-Hop in Tanzania, a Contemporary of Uwazi 322
– Heavy Resistance to “Muziki ya kihuni” 324
– From American Mimicry to the Original Creation of Rap
   in Kiswahili 327
– Initial Attempts to Promote Hip-Hop 330
– Improved Media Coverage and Popularization of Hip-Hop 332
– The Consecration of Kiswahili Rap – mapinduzi halisi ya
   Bongo Flava 334
Confirmation of Hip-Hop with Political and Social Leanings 338
– The Spokespeople for a Society in Crisis 339
– Political and Civic Rap 346
– Artistes’ Involvement in the Defense and Maintenance of
   Authentic Hip-Hop Rap 351
Conclusion 352

15
Chantal Logan
The Enduring Power of Somali “Oral Political Poetry”:
Songs and Poems of Peace in the Midst of Chaos 355
The Somali Crisis: A Political Milieu Favourable to the
Spoken Word 357
Oral Political Poetry: An Unbroken Continuum 361
Peace Making and Poetry 365
Women and Peace Poetry 368

16
Lupenga Mphande
If you’re Ugly, Know how to Sing:
Aesthetics of Resistance and Subversion 377

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