Gregory F. Barz
An East African kwaya is a community that gathers several times each week to define its spirituality musically. Members of kwayas come together to sing, to pray, to support individual members in times of need, and to both learn and pass along new and inherited faith traditions. Kwayas negotiate between multiple musical traditions or just as often they reject an inherited musical system while others may continue to engage musical repertoires from both Europe and Africa. Contemporary kwayas comfortably coexist in the urban musical soundscape of coastal Dar es Salaam along with jazz dance bands, taarab ensembles, ngoma performance groups, Hindi film music, rap, reggae, and the constant influx of recorded American and European popular musics.
This ethnography calls into question terms frequently used to draw tight boundaries around the study of the arts in African expressive religious cultures. Such divisions of the arts present well-defended boundaries and borders that are not sufficient for understanding the change, adaptation, preservation, and integration that occur within a Tanzanian kwaya. Boundaries break down within the everyday performance of East African kwayas, such as Kwaya ya Upendo [“The Love Choir”] in Dar es Salaam, as repertoires, traditions, histories, and cultures interact within a performance of social identity.
Image, Text, Performance
Edited by Marie-Luise Kohlke and Luisa Orza
Finbarr Barry Flood
, and East Africa, and even appeared as far east as Java. 15 While the pattern of constructing imperially sponsored mosques was repeated as the Delhi sultanate expanded its reach southward into the Deccan, at the Qutb itself, the subsequent additions and extensions by Iltutmish and ʿAlaʾ al
Britain and Germany in a (Post)Colonial World
Edited by Ulrike Lindner, Maren Möhring, Mark Stein and Silke Stroh
This volume contributes to such developments by combining contributions from history, English and German studies, cultural geography, theatre studies, and film studies; by covering both the colonial and the postcolonial period; and by looking comparatively at two different (post)colonial contexts: the United Kingdom and Germany.
The result is productive dialogue across the distinct colonial and migration histories of the UK and Germany, which brings out divergent concepts of cultural difference – but, importantly, without neglecting similarities and transnational developments. The interdisciplinary outlook extends beyond political definitions of identity and difference to include consumer culture, literature, film, and journalism – cultural and social practices that construct, represent, and reflect personal and collective identities.
Section I discusses the historical and contemporary role of colonial experience and its remembrance in the construction of national identities. Section II follows on by tracing the reflections of (post)coloniality and twentieth-century migration in the specific fields of economic history and consumer culture. Section III centres on recent debates about multiculture and national/cultural identity in politics, literature, and film.
told over the centuries by authors dealing with the unicorn, what is particularly puzzling is that there is no earlier source, as far as I have ascertained, for Urreta’s “naturalistic ” version of it. 42 In any case, it can hardly be fortuitous that the East African—or more precisely Ethiopian