Age: 53
- Authors: Berold, Robert
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , poem
- Identifier: http://hdl.handle.net/10962/461951 , vital:76254 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/AJA00284459_573
- Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
- Full Text:
- Date Issued: 2001
- Authors: Berold, Robert
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , poem
- Identifier: http://hdl.handle.net/10962/461951 , vital:76254 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/AJA00284459_573
- Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
- Full Text:
- Date Issued: 2001
An examination of the development of Christian worship in the Southern Congo United Methodist Church with a view to promoting a relevant and indigenous form of worship
- Authors: Nkonge, Jean-Marie
- Date: 2001
- Subjects: Christianity Christianity -- Congo United Methodist Church -- Congo
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:1233 , http://hdl.handle.net/10962/d1007445
- Description: The scope of this thesis is the investigation of the nature and purpose of Christian worship with specific reference to its development in the Southern Congo United Methodist Church. The study combines three main sources of information - namely, the study of key theological concepts (chapter 3), the Holy Bible (chapter 4), and the investigation by questionnaires (chapter 6) - in order to address the issue of improving the worship and Christian life style for the contemporary Christian church within the Congolese context. Christian worship has been defined as a twofold event involving God's initiative in and through Jesus Christ, and men and women's response towards God's saving acts through the same Mediator, Jesus Christ. Seeing that the unchangeable Gospel relates to each culture, it is argued in this thesis that Congolese cultural values (local clergy, local languages, art forms, and other cultural elements) could be an integral part of worship. This long and slow process of incarnating the Christian message into the Congolese context could result in finding original and meaningful expressions of the Christian faith in the African context. Insights are drawn from the research to offer theological and pragmatic guidelines. In fact, it is suggested that the integration of Congolese cultural elements should be monitored by a Theological Commission at the congregational level, the district level, and the Annual Conference level. Furthermore, the last section of the last chapter provides helpful suggestions in dealing with practical issues with regard to the overall management of the Southern Congo United Methodist Church.
- Full Text:
- Date Issued: 2001
- Authors: Nkonge, Jean-Marie
- Date: 2001
- Subjects: Christianity Christianity -- Congo United Methodist Church -- Congo
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:1233 , http://hdl.handle.net/10962/d1007445
- Description: The scope of this thesis is the investigation of the nature and purpose of Christian worship with specific reference to its development in the Southern Congo United Methodist Church. The study combines three main sources of information - namely, the study of key theological concepts (chapter 3), the Holy Bible (chapter 4), and the investigation by questionnaires (chapter 6) - in order to address the issue of improving the worship and Christian life style for the contemporary Christian church within the Congolese context. Christian worship has been defined as a twofold event involving God's initiative in and through Jesus Christ, and men and women's response towards God's saving acts through the same Mediator, Jesus Christ. Seeing that the unchangeable Gospel relates to each culture, it is argued in this thesis that Congolese cultural values (local clergy, local languages, art forms, and other cultural elements) could be an integral part of worship. This long and slow process of incarnating the Christian message into the Congolese context could result in finding original and meaningful expressions of the Christian faith in the African context. Insights are drawn from the research to offer theological and pragmatic guidelines. In fact, it is suggested that the integration of Congolese cultural elements should be monitored by a Theological Commission at the congregational level, the district level, and the Annual Conference level. Furthermore, the last section of the last chapter provides helpful suggestions in dealing with practical issues with regard to the overall management of the Southern Congo United Methodist Church.
- Full Text:
- Date Issued: 2001
Beloved
- Authors: Berold, Robert
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , poem
- Identifier: http://hdl.handle.net/10962/461962 , vital:76255 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/AJA00284459_573
- Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
- Full Text:
- Date Issued: 2001
- Authors: Berold, Robert
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , poem
- Identifier: http://hdl.handle.net/10962/461962 , vital:76255 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/AJA00284459_573
- Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
- Full Text:
- Date Issued: 2001
Confronting the African nightmare: Yael Farber’s SeZaR (theatre review)
- Authors: Wright, Laurence
- Date: 2001
- Language: English
- Type: Article
- Identifier: vital:7046 , http://hdl.handle.net/10962/d1007388
- Description: Yael Farber’s adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001
- Authors: Wright, Laurence
- Date: 2001
- Language: English
- Type: Article
- Identifier: vital:7046 , http://hdl.handle.net/10962/d1007388
- Description: Yael Farber’s adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001
Plaatje's African romance: the translation of tragedy in Mhudi and other writings
- Authors: Walter, Brian Ernest
- Date: 2001
- Subjects: Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932. Mhudi Race in literature Politics in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2188 , http://hdl.handle.net/10962/d1002230
- Description: This study brings together Plaatje’s politicaland literary visions, arguing that the one informs the other. Plaatje’s literary work is used as a starting point for the discussion, and the first chapter explores the relationship of his political and artistic visions. Mhudi is his definitive romance text, and it is argued that Plaatje’s romance visionin this text is reflected in his political thinking, and in turn reflected by it. His romance work was part of a literary romance tradition which Plaatje both drew upon and transformed, and thus the basic features of romance are explored in Chapter Two. Plaatje’s work is situated between two influential romance models, therefore Chapter Two also discusses the romances of Shakespeare, whomPlaatje read as reflectinga non-racial humanism that was translatable into the African context, in terms of political vision and of literary text. His other models were the colonial romances of Haggard. It is argued that, while Plaatje could glean many elements fromHaggardthat suited his purposes as an African, specifically a SouthAfrican, writer, he nevertheless—despite his own pro-British leanings, qualified though they might have been by the complexities of his colonial context—would not have represented Africa and Africans in terms of the exotic other in the way Haggard clearly did. Thus Plaatje, in terms of his romance vision, may have usedmanyofthe themesand techniques of Haggardianromance, but consistently qualified these colonial works by using the more classically shaped Shakespearean romance structure at the deep level of his work. The third chapter examines Haggard’s romance, but differentiates between two Haggardian types, the completed or resolved romance, whichis more classical in its form, and evokes an image of a completed quest, as well as the necessity of the quester entering the world again. Haggard’s “completed” African romance, it is argued, is resolved only in terms of a colonial vision. Chapter Four, by contrast, examines examples of his unresolved African romance, in which African ideals implode, and show themselves to be inneed of foreign intervention. It is argued that Haggard’s image of Africa was based on the unresolved or incomplete romance. His vision of Africa was such that it could not in itself provide the materialfor completed romance. This vision saw intervention as the only option for South Africa. While Plaatje uses elements of Haggard’s “incomplete” romance models when writing Mhudi, he handles both his narrative and politicalcommentaryin this text in terms of his own politicalthought. This non-racial politicalvisionis guided by his belief that virtue and vice are not the monopoly of any colour, a non-racialism he associates with Shakespeare. However, within the context of the South Africa of his fictionand of his life, this non-racial ideal is constantly under threat. It is partly threatened by political forces, but also challenged by moral changes within individuals and societies. In Chapter Five the examination of Plaatje’s work begins withhis Boer War Diary, inwhicha romance structure is sought beneath his diurnal observations and political optimismduring a time of warfare and siege. The discussion of this text is followed by a reading of Native Life in South Africa in which it is argued that Plaatje looks, in the midst of personal and social suffering, for that which can translate a tragic situation into romance resolution. “Translation” is used in a broad sense, echoing Plaatje’s view of the importance of translation for cross-cultural understanding and harmony. The arguments of Chapter Five are extended into Chapter Six, where a reading of Mhudi places emphasis on the possibilities of change implied in romance. Plaatje’s non-racial humanism recognizes the great potential for injustice and human suffering within the context of South African racism, but constantly seeks to translate such suffering into the triumph of romance. While the narrative of Mhudi concludes on a romance peak, tensions between the tragic and romance possibilities alert the reader to the sense that, despite its romance resolution, something has been lost in the translation of the potential tragedy into romance.
- Full Text:
- Date Issued: 2001
- Authors: Walter, Brian Ernest
- Date: 2001
- Subjects: Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932. Mhudi Race in literature Politics in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2188 , http://hdl.handle.net/10962/d1002230
- Description: This study brings together Plaatje’s politicaland literary visions, arguing that the one informs the other. Plaatje’s literary work is used as a starting point for the discussion, and the first chapter explores the relationship of his political and artistic visions. Mhudi is his definitive romance text, and it is argued that Plaatje’s romance visionin this text is reflected in his political thinking, and in turn reflected by it. His romance work was part of a literary romance tradition which Plaatje both drew upon and transformed, and thus the basic features of romance are explored in Chapter Two. Plaatje’s work is situated between two influential romance models, therefore Chapter Two also discusses the romances of Shakespeare, whomPlaatje read as reflectinga non-racial humanism that was translatable into the African context, in terms of political vision and of literary text. His other models were the colonial romances of Haggard. It is argued that, while Plaatje could glean many elements fromHaggardthat suited his purposes as an African, specifically a SouthAfrican, writer, he nevertheless—despite his own pro-British leanings, qualified though they might have been by the complexities of his colonial context—would not have represented Africa and Africans in terms of the exotic other in the way Haggard clearly did. Thus Plaatje, in terms of his romance vision, may have usedmanyofthe themesand techniques of Haggardianromance, but consistently qualified these colonial works by using the more classically shaped Shakespearean romance structure at the deep level of his work. The third chapter examines Haggard’s romance, but differentiates between two Haggardian types, the completed or resolved romance, whichis more classical in its form, and evokes an image of a completed quest, as well as the necessity of the quester entering the world again. Haggard’s “completed” African romance, it is argued, is resolved only in terms of a colonial vision. Chapter Four, by contrast, examines examples of his unresolved African romance, in which African ideals implode, and show themselves to be inneed of foreign intervention. It is argued that Haggard’s image of Africa was based on the unresolved or incomplete romance. His vision of Africa was such that it could not in itself provide the materialfor completed romance. This vision saw intervention as the only option for South Africa. While Plaatje uses elements of Haggard’s “incomplete” romance models when writing Mhudi, he handles both his narrative and politicalcommentaryin this text in terms of his own politicalthought. This non-racial politicalvisionis guided by his belief that virtue and vice are not the monopoly of any colour, a non-racialism he associates with Shakespeare. However, within the context of the South Africa of his fictionand of his life, this non-racial ideal is constantly under threat. It is partly threatened by political forces, but also challenged by moral changes within individuals and societies. In Chapter Five the examination of Plaatje’s work begins withhis Boer War Diary, inwhicha romance structure is sought beneath his diurnal observations and political optimismduring a time of warfare and siege. The discussion of this text is followed by a reading of Native Life in South Africa in which it is argued that Plaatje looks, in the midst of personal and social suffering, for that which can translate a tragic situation into romance resolution. “Translation” is used in a broad sense, echoing Plaatje’s view of the importance of translation for cross-cultural understanding and harmony. The arguments of Chapter Five are extended into Chapter Six, where a reading of Mhudi places emphasis on the possibilities of change implied in romance. Plaatje’s non-racial humanism recognizes the great potential for injustice and human suffering within the context of South African racism, but constantly seeks to translate such suffering into the triumph of romance. While the narrative of Mhudi concludes on a romance peak, tensions between the tragic and romance possibilities alert the reader to the sense that, despite its romance resolution, something has been lost in the translation of the potential tragedy into romance.
- Full Text:
- Date Issued: 2001
The construction of 'farm killings' in the Eastern Province Herald: an ideological analysis of the Herald's farm killings' disclosure, August 1998
- Authors: Jacobs, Luzuko
- Date: 2001
- Subjects: Farm killings -- South Africa -- Eastern Cape Murder -- South Africa -- Eastern Cape Eastern Province Herald (Newspaper)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3436 , http://hdl.handle.net/10962/d1002890
- Description: This study examines the ideological inflection of the ‘farm killings’ discourse in the Eastern Province Herald articles published in August 1998. ‘Farm killings’ is a media frame which was applied to a spate of killings of people on the country’s farms since 1994. Heightened and sustained media attention on the ‘farm killings’ has lifted the phenomenon from the other ‘run-of-the-mill’ murder crimes, and located it firmly as a matter of public concern and a subject of a broad political and economic debate. In this study I investigate the media coverage of the ‘farm killings’ within the context of these debates. The cultural studies approach to the study of the media provides a fruitful theoretical framework within which this study is located. The ideological examination of the articles is done using the critical linguistics method - a brand of reflexive, interpretative style of analysis which enables a sustained examination of media texts within their social, cultural and historical context. This study’s conclusions pose a challenge to the ‘Fourth Estate’ role often claimed for the media. In particular, it denies that the Herald objectively, fairly and truthfully reflected the experience on the farms during the period of this study. Its main finding is that the newspaper instead, constructed a particular understanding of the killings characterised by subtle racism, bias and partiality.
- Full Text:
- Date Issued: 2001
- Authors: Jacobs, Luzuko
- Date: 2001
- Subjects: Farm killings -- South Africa -- Eastern Cape Murder -- South Africa -- Eastern Cape Eastern Province Herald (Newspaper)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3436 , http://hdl.handle.net/10962/d1002890
- Description: This study examines the ideological inflection of the ‘farm killings’ discourse in the Eastern Province Herald articles published in August 1998. ‘Farm killings’ is a media frame which was applied to a spate of killings of people on the country’s farms since 1994. Heightened and sustained media attention on the ‘farm killings’ has lifted the phenomenon from the other ‘run-of-the-mill’ murder crimes, and located it firmly as a matter of public concern and a subject of a broad political and economic debate. In this study I investigate the media coverage of the ‘farm killings’ within the context of these debates. The cultural studies approach to the study of the media provides a fruitful theoretical framework within which this study is located. The ideological examination of the articles is done using the critical linguistics method - a brand of reflexive, interpretative style of analysis which enables a sustained examination of media texts within their social, cultural and historical context. This study’s conclusions pose a challenge to the ‘Fourth Estate’ role often claimed for the media. In particular, it denies that the Herald objectively, fairly and truthfully reflected the experience on the farms during the period of this study. Its main finding is that the newspaper instead, constructed a particular understanding of the killings characterised by subtle racism, bias and partiality.
- Full Text:
- Date Issued: 2001
Theatre Reviews: Confronting the African nightmate
- Wright, Laurence, Jefferey, C
- Authors: Wright, Laurence , Jefferey, C
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455890 , vital:75465 , https://hdl.handle.net/10520/AJA1011582X_170
- Description: Yael Farber's adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001
- Authors: Wright, Laurence , Jefferey, C
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455890 , vital:75465 , https://hdl.handle.net/10520/AJA1011582X_170
- Description: Yael Farber's adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001
to the setting sun
- Authors: Berold, Robert
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , poem
- Identifier: http://hdl.handle.net/10962/462503 , vital:76309 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/AJA00284459_573
- Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
- Full Text:
- Date Issued: 2001
- Authors: Berold, Robert
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , poem
- Identifier: http://hdl.handle.net/10962/462503 , vital:76309 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/AJA00284459_573
- Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
- Full Text:
- Date Issued: 2001
Activate: 2000 - August
- Date: 2000-08-29
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14359 , http://hdl.handle.net/10962/d1019231
- Description: Activate is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Activate was established in 1947 as Rhodeo, and during apartheid became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 2000-08-29
- Date: 2000-08-29
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14359 , http://hdl.handle.net/10962/d1019231
- Description: Activate is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Activate was established in 1947 as Rhodeo, and during apartheid became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 2000-08-29
A portfolio of original compositions with a commentary
- Authors: Nkuna, Musa
- Date: 2000
- Subjects: String quartets -- Scores Song cycles -- Scores Music -- Africa -- Scores
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: vital:2698 , http://hdl.handle.net/10962/d1018689
- Description: This portfolio consists of four diverse original compositions written in 1999 : a string quartet, a cello suite and a set of two choral pieces.
- Full Text:
- Date Issued: 2000
- Authors: Nkuna, Musa
- Date: 2000
- Subjects: String quartets -- Scores Song cycles -- Scores Music -- Africa -- Scores
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: vital:2698 , http://hdl.handle.net/10962/d1018689
- Description: This portfolio consists of four diverse original compositions written in 1999 : a string quartet, a cello suite and a set of two choral pieces.
- Full Text:
- Date Issued: 2000
Africa Unity
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129641 , vital:36315 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-02
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129641 , vital:36315 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-02
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Divine
- Priscilia Ngando (lead vocal), Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars), Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar), Dany Mouanga, Eric Sefu (solo guitar), Aubin Sandjo, Paul Balong (keyboard), Abel Massock, Fabo Claude, Nono (chorus), Priscilia Ngando (composer), Aubin Sandjo (drum, percussion, keyboard), Alhadji Mallam Issa (talking drum), Moussa Haissam
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Priscilia Ngando (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: English , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130891 , vital:36495 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-09
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Priscilia Ngando (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: English , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130891 , vital:36495 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-09
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
Education for environmental literacy : towards participatory action research in the secondary school science curriculum in Lesotho
- Authors: Mokuku, Tsepo
- Date: 2000
- Subjects: Environmental education -- Lesotho , Science -- Study and teaching (Secondary) -- Lesotho
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:1503 , http://hdl.handle.net/10962/d1003385 , Environmental education -- Lesotho , Science -- Study and teaching (Secondary) -- Lesotho
- Description: The dependency of educators in Lesotho on externally developed curriculum theories and concepts is fundamental to issues of relevance of the school curricula. This study set out to develop the meaning of environmental literacy in the context of three secondary schools and to explore appropriate teaching methods for the development of this concept in the science curriculum. The participatory action research process involved a team of four science teachers, including the researcher, in partnership with an environmental centre. We progressively developed the meamng of environmental literacy by monitoring teaching innovations in the classroom, holding meetings and workshops and attending conferences where we shared classroom findings and reflected on our emerging understandings based on classroom experiences. Data collection involved: audio-recording of classroom lessons, interviews with teachers and students, audio-visual recording, classroom observations and students' questionnaires. The research process made apparent the complex nature of the process of clarifying and developing environmental literacy in this context. Classroom actiyities planned to inform the team's understanding of the meaning of environmental literacy and develop appropriate teaching methods encountered constraints associated with the education system and the legacy of colonialism. These contextual constraints crystallised the need for the education system to be transformed in order to make schools more conducive environments for the gevelopment of students' environmental literacy. While initially teachers were reluctant to engage in critical reflection, the research process did encourage the team to revise and expand their understandings of both environmental literacy in the science classroom, and the action research itself. The emerging meaning of environmental literacy in this context and how it may be developed among students does not involve a definition with prescriptive, effective teaching methods, but provides insights and understandings gained by the participants in their engagement with a reflective process of reconslructing meaning. I have come to understand environmental literacy during the study to be a process that should draw strongly on the local knowledge and understandings into the science curriculum, through participatory process-based curriculum development models.
- Full Text:
- Date Issued: 2000
- Authors: Mokuku, Tsepo
- Date: 2000
- Subjects: Environmental education -- Lesotho , Science -- Study and teaching (Secondary) -- Lesotho
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:1503 , http://hdl.handle.net/10962/d1003385 , Environmental education -- Lesotho , Science -- Study and teaching (Secondary) -- Lesotho
- Description: The dependency of educators in Lesotho on externally developed curriculum theories and concepts is fundamental to issues of relevance of the school curricula. This study set out to develop the meaning of environmental literacy in the context of three secondary schools and to explore appropriate teaching methods for the development of this concept in the science curriculum. The participatory action research process involved a team of four science teachers, including the researcher, in partnership with an environmental centre. We progressively developed the meamng of environmental literacy by monitoring teaching innovations in the classroom, holding meetings and workshops and attending conferences where we shared classroom findings and reflected on our emerging understandings based on classroom experiences. Data collection involved: audio-recording of classroom lessons, interviews with teachers and students, audio-visual recording, classroom observations and students' questionnaires. The research process made apparent the complex nature of the process of clarifying and developing environmental literacy in this context. Classroom actiyities planned to inform the team's understanding of the meaning of environmental literacy and develop appropriate teaching methods encountered constraints associated with the education system and the legacy of colonialism. These contextual constraints crystallised the need for the education system to be transformed in order to make schools more conducive environments for the gevelopment of students' environmental literacy. While initially teachers were reluctant to engage in critical reflection, the research process did encourage the team to revise and expand their understandings of both environmental literacy in the science classroom, and the action research itself. The emerging meaning of environmental literacy in this context and how it may be developed among students does not involve a definition with prescriptive, effective teaching methods, but provides insights and understandings gained by the participants in their engagement with a reflective process of reconslructing meaning. I have come to understand environmental literacy during the study to be a process that should draw strongly on the local knowledge and understandings into the science curriculum, through participatory process-based curriculum development models.
- Full Text:
- Date Issued: 2000
Environmental art and its contribution to establishing an awareness of the sacred in nature
- Matthews, Elaine Katherine Simone
- Authors: Matthews, Elaine Katherine Simone
- Date: 2000
- Subjects: Installations (Art) Art, Modern -- 20th century Nature (Aesthetics)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2413 , http://hdl.handle.net/10962/d1002209
- Description: The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.
- Full Text:
- Date Issued: 2000
- Authors: Matthews, Elaine Katherine Simone
- Date: 2000
- Subjects: Installations (Art) Art, Modern -- 20th century Nature (Aesthetics)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2413 , http://hdl.handle.net/10962/d1002209
- Description: The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.
- Full Text:
- Date Issued: 2000
Human Touch
- Selle Diop (comoser, performer), Serigne Ndiaga Diop (composer), Souleymane Faye (arranged by), Lay Diagne (keyboards), Robson (accoustic guitar, percussion), Nagirou Dia, Selle Diop (chorus), Studio 2000
- Authors: Selle Diop (comoser, performer) , Serigne Ndiaga Diop (composer) , Souleymane Faye (arranged by) , Lay Diagne (keyboards) , Robson (accoustic guitar, percussion) , Nagirou Dia, Selle Diop (chorus) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128476 , vital:36113 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC11-02
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Selle Diop (comoser, performer) , Serigne Ndiaga Diop (composer) , Souleymane Faye (arranged by) , Lay Diagne (keyboards) , Robson (accoustic guitar, percussion) , Nagirou Dia, Selle Diop (chorus) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128476 , vital:36113 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC11-02
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Kebali
- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/${Handle} , vital:36029 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-06
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/${Handle} , vital:36029 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-06
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
Kounandi
- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127631 , vital:36028 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-05
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127631 , vital:36028 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-05
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
Lu Ko Jar
- Ajah Sy ( lead vocals, author, composer, chorus), Biram Ndeck Ndiaye, El Hadji Niang (arrangement), Lamine Faye (guitar), El Hadji Niang (bass), Bakane Seck (percussion), Marie Codou Pouye, Ajah Sy, Abdourahmane Diallo,Missala man, Aly Hachem, Mame Gor Mboup (chorus), El Hadji Niang, Aly Hachem, Ousmane Wade (keyboards), Kaounding Cissokho (kora), Barou Sall (Khalam), Studio 2000
- Authors: Ajah Sy ( lead vocals, author, composer, chorus) , Biram Ndeck Ndiaye , El Hadji Niang (arrangement) , Lamine Faye (guitar) , El Hadji Niang (bass) , Bakane Seck (percussion) , Marie Codou Pouye, Ajah Sy, Abdourahmane Diallo,Missala man, Aly Hachem, Mame Gor Mboup (chorus) , El Hadji Niang, Aly Hachem, Ousmane Wade (keyboards) , Kaounding Cissokho (kora) , Barou Sall (Khalam) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129368 , vital:36268 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC27-04
- Description: A homage to women in general and rural women in particular, for courageously and stoically facing their arduous socetal burden
- Full Text: false
- Date Issued: 2000
- Authors: Ajah Sy ( lead vocals, author, composer, chorus) , Biram Ndeck Ndiaye , El Hadji Niang (arrangement) , Lamine Faye (guitar) , El Hadji Niang (bass) , Bakane Seck (percussion) , Marie Codou Pouye, Ajah Sy, Abdourahmane Diallo,Missala man, Aly Hachem, Mame Gor Mboup (chorus) , El Hadji Niang, Aly Hachem, Ousmane Wade (keyboards) , Kaounding Cissokho (kora) , Barou Sall (Khalam) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129368 , vital:36268 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC27-04
- Description: A homage to women in general and rural women in particular, for courageously and stoically facing their arduous socetal burden
- Full Text: false
- Date Issued: 2000
No more lament
- Ajah Sy ( lead vocals, author, composer, chorus), Biram Ndeck Ndiaye, Aly Hachem (arrangement), Lamine Faye (guitar), El Hadji Niang, Aly Hachem, Ousmane Wade (keyboards), Moussa Traore (percussion), Jean Pierre Gomes (bass), Marie Codou Pouye, Ajah Sy, Abdourahmane Diallo,Missala man, Aly Hachem, Mame Gor Mboup (chorus), Studio 2000
- Authors: Ajah Sy ( lead vocals, author, composer, chorus) , Biram Ndeck Ndiaye , Aly Hachem (arrangement) , Lamine Faye (guitar) , El Hadji Niang, Aly Hachem, Ousmane Wade (keyboards) , Moussa Traore (percussion) , Jean Pierre Gomes (bass) , Marie Codou Pouye, Ajah Sy, Abdourahmane Diallo,Missala man, Aly Hachem, Mame Gor Mboup (chorus) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129405 , vital:36275 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC27-08
- Description: Lyrical songs with solo and chorus accompanied by keyboard, percussion and guitars, in traditional Senegalese music style mixed with international influences
- Full Text: false
- Date Issued: 2000
- Authors: Ajah Sy ( lead vocals, author, composer, chorus) , Biram Ndeck Ndiaye , Aly Hachem (arrangement) , Lamine Faye (guitar) , El Hadji Niang, Aly Hachem, Ousmane Wade (keyboards) , Moussa Traore (percussion) , Jean Pierre Gomes (bass) , Marie Codou Pouye, Ajah Sy, Abdourahmane Diallo,Missala man, Aly Hachem, Mame Gor Mboup (chorus) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129405 , vital:36275 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC27-08
- Description: Lyrical songs with solo and chorus accompanied by keyboard, percussion and guitars, in traditional Senegalese music style mixed with international influences
- Full Text: false
- Date Issued: 2000
Nyau masquerade performance : shifting the imperial gaze
- Authors: Guhrs, Tamara
- Date: 2000
- Subjects: Masquerades -- Malawi , Masquerades -- Zambia , Malawi -- Religion , Zambia -- Religion , Masks, Chewa , Chewa (African people) -- Rites and ceremonies , Nyanja (African people) -- Rites and ceremonies , Secret societies -- Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2140 , http://hdl.handle.net/10962/d1002372 , Masquerades -- Malawi , Masquerades -- Zambia , Malawi -- Religion , Zambia -- Religion , Masks, Chewa , Chewa (African people) -- Rites and ceremonies , Nyanja (African people) -- Rites and ceremonies , Secret societies -- Africa
- Description: Nyau Masquerades have been studied by missionaries, anthropologists and religious specialists, but have seldom been documented by theatre and performance specialists. This dissertation argues for the acceptance of Ny au performance as a contemporary world theatre form rooted in tradition. Charting the uneasy relationship between the Nyau and those who have sought to record their performances, the author delineates a vivid dramaturgy of this art form. In doing so, the boundaries of what define theatre as it has traditionally been understood in dominant discourses are made more fluid. Nyau performances have been affected by Colonial processes in varied ways. They were banned by the former government of Northern Rhodesia and severely censored by Catholic Mission teachings in the former Nyasaland. Other forms of vilification have been more subtle. Information about performance in Africa has often been collected and arranged in ways which limit the understanding of these genres. Images of Africa which cluster around the notion of the 'Primitive Other' have enabled a representation of Ny au masking as a superstitious and outdated practice with no relevance for contemporary Africa. This work calls for a new examination of the Nyau, through the lens of local discourse as well as contemporary global understandings of performance. Chapter One examines the issue of primitivism and the ways in which Africa has historically been posited as the exotic Other to Europe. Chapter Two examines the Nyau ih terms of specific dramaturgical elements, adjusting previous misconceptions surrounding the theatr~ forms of Chewa and Nyanja people. Chapter Three is devoted to a discussion of space in ritual theatre and Nyau performance, while Chapter Four explores masking and questions of transformation and liminality. In conclusion, it is seen that the use of the mask is a metaphor for the suspension of rigid boundaries separating subject/object, self/other, ritual/theatre, a suspension which needs to take place before an enriched understanding of performance in Africa can be reached.
- Full Text:
- Date Issued: 2000
- Authors: Guhrs, Tamara
- Date: 2000
- Subjects: Masquerades -- Malawi , Masquerades -- Zambia , Malawi -- Religion , Zambia -- Religion , Masks, Chewa , Chewa (African people) -- Rites and ceremonies , Nyanja (African people) -- Rites and ceremonies , Secret societies -- Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2140 , http://hdl.handle.net/10962/d1002372 , Masquerades -- Malawi , Masquerades -- Zambia , Malawi -- Religion , Zambia -- Religion , Masks, Chewa , Chewa (African people) -- Rites and ceremonies , Nyanja (African people) -- Rites and ceremonies , Secret societies -- Africa
- Description: Nyau Masquerades have been studied by missionaries, anthropologists and religious specialists, but have seldom been documented by theatre and performance specialists. This dissertation argues for the acceptance of Ny au performance as a contemporary world theatre form rooted in tradition. Charting the uneasy relationship between the Nyau and those who have sought to record their performances, the author delineates a vivid dramaturgy of this art form. In doing so, the boundaries of what define theatre as it has traditionally been understood in dominant discourses are made more fluid. Nyau performances have been affected by Colonial processes in varied ways. They were banned by the former government of Northern Rhodesia and severely censored by Catholic Mission teachings in the former Nyasaland. Other forms of vilification have been more subtle. Information about performance in Africa has often been collected and arranged in ways which limit the understanding of these genres. Images of Africa which cluster around the notion of the 'Primitive Other' have enabled a representation of Ny au masking as a superstitious and outdated practice with no relevance for contemporary Africa. This work calls for a new examination of the Nyau, through the lens of local discourse as well as contemporary global understandings of performance. Chapter One examines the issue of primitivism and the ways in which Africa has historically been posited as the exotic Other to Europe. Chapter Two examines the Nyau ih terms of specific dramaturgical elements, adjusting previous misconceptions surrounding the theatr~ forms of Chewa and Nyanja people. Chapter Three is devoted to a discussion of space in ritual theatre and Nyau performance, while Chapter Four explores masking and questions of transformation and liminality. In conclusion, it is seen that the use of the mask is a metaphor for the suspension of rigid boundaries separating subject/object, self/other, ritual/theatre, a suspension which needs to take place before an enriched understanding of performance in Africa can be reached.
- Full Text:
- Date Issued: 2000