Performing Religion considers issues related to Tanzanian kwayas [KiSwahili, “choirs”], musical communities most often affiliated with Christian churches, and the music they make, known as nyimbo za kwaya [choir songs] or muziki wa kwaya [choir music]. The analytical approach adopted in this text focusing on the communities of kwaya is one frequently used in the fields of ethnomusicology, religious studies, culture studies, and philosophy for understanding diversified social processes-consciousness. By invoking consciousness an attempt is made to represent the ways seemingly disparate traditions coexist, thrive, and continue within contemporary kwaya performance. 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.

Authentic, contemporary language Plenty of exercises Clear and concise grammar explanations Accompanied by audio material

Are you looking for a complete course in Swahili which takes you effortlessly from beginner to confident speaker? Whether you are starting from scratch, or are just out of practice, Complete Swahili will guarantee success! Now fully updated to make your language learning experience fun and interactive. You can still rely on the benefits of a top language teacher and our years of teaching experience, but now with added learning features within the course and online. The course is structured in thematic units and the emphasis is placed on communication, so that you effortlessly progress from introducing yourself and dealing with everyday situations, to using the phone and talking about work. By the end of this course, you will be at Level B2 of the Common European Framework for Languages: Can interact with a degree of fluency and spontaneity that makes regular interaction with native speakers quite possible without strain for either party. Learn effortlessly with a new easy-to-read page design and interactive features: NOT GOT MUCH TIME? One, five and ten-minute introductions to key principles to get you started. AUTHOR INSIGHTS Lots of instant help with common problems and quick tips for success, based on the author's many years of experience. GRAMMAR TIPS Easy-to-follow building blocks to give you a clear understanding. USEFUL VOCABULARY Easy to find and learn, to build a solid foundation for speaking. DIALOGUES Read and listen to everyday dialogues to help you speak and understand fast. PRONUNCIATION Don't sound like a tourist! Perfect your pronunciation before you go. TEST YOURSELF Tests in the book and online to keep track of your progress. EXTEND YOUR KNOWLEDGE Extra online articles at: www.teachyourself.com to give you a richer understanding of the culture and history of Swahili speakers. TRY THIS Innovative exercises illustrate what you've learnt and how to use it.

The official records of the proceedings of the Legislative Council of the Colony and Protectorate of Kenya, the House of Representatives of the Government of Kenya and the National Assembly of the Republic of Kenya.

Popular culture in Africa is the product of everyday life: the unofficial, the non-canonical. And it is the dynamism of this culture that makes Africa what it is. In this book, Karin Barber offers a journey through the history of music, theatre, fiction, song, dance, poetry, and film from the seventeenth century to the present day. From satires created by those living in West African coastal towns in the era of the slave trade, to the poetry and fiction of townships and mine compounds in South Africa, and from today's East African streets where Swahili hip hop artists gather to the juggernaut of the Nollywood film industry, this book weaves together a wealth of sites and scenes of cultural production. In doing so, it provides an ideal text for students and researchers seeking to learn more about the diversity, specificity and vibrancy of popular cultural forms in African history.

IFILIMO ICIPANDWA 1 1. Shikulu Alitupokolola Ukufuma kwi Sonde Lino Ilibifi (Abena Galatiya 1:1-5) 2. Bushe Icitetekelo Cenu Tacaba Nge ca Bena Kusembululwa mu Nshila Imbi? (Abena Galatiya 1:1-5) 3. Shikulu Alitupokolola Mukupwililika kabili Limo Epela (Abena Galatiya 1:3-5) 4. Takwaba Imbilansuma Imbi Kano fye Imbilansuma ya Menshi no Mupashi (Abena Galatiya 1:6-10) 5. Abo Imitima Shabikwa Nga Babomfi ba kwa Lesa (Abena Galatiya 1:10-12) 6. Icitetekelo ca Mutumwa Paulo No Kusoka Kwakwe ku Bena Kusembululwa (Abena Galatiya 1:1-17) 7. Umweo wa Citetekelo ca Bukabaka bwa Malango Uleta fye Amatipo (Abena Galatiya 1:1-24) ICIPANDWA 2 1. Mulandu Nshi Umutumwa Paulo Asulile Bakabaka ba Malango? (Abena Galatiya 2:1-10) 2. Ubukankala bwa Citetekelo ca kwa Paulo (Abena Galatiya 2:20) 3. Kucitetekelo mu Mwana wa kwa Lesa, Bushe Twalifwa no Kubushiwa Pamo Nankwe? (Abena Galatiya 2:20) 4. Umuntu Talungamikilwa ku Kubombe Fisosa Amalango Kano ku Kutetekela Mu Mbilansuma ya Menshi no Mupashi (Abena Galatiya 2:11-21) 5. Twalungamikilwa Fye ku Citetekelo Icapwililika (Abena Galatiya 2:11-21) ICIPANDWA 3 1. Ikalileni Lyonse Umweo Wenu ku Citetekelo mu Mbilansuma ya Menshi no Mupashi (Abena Galatiya 3:1-11) 2. Bushe ni Lisa Elyo Ukubulilwa kwa Mitima Yesu Kufumishiwapo? (Abena Galatiya 3:23-29) 3. Nomba Tatulingile Ukuba Abena Citipu ca Malango Nakalya (Abena Galatiya 3:1-29) Isambilisho Lya Kulapila Lyalilinga Ukulenga Imwe Ukulwala Ubulwele bwa ku Mupashi. Abantu isonde lyonse baletiina utushishi twaba nga SARS, pa mulandu wa kuti kuti bafwa nga bakwata utushishi twa ifi utushimoneka. Ifyo fine, Abena Kristu muno nshiku abali mwi sonde lyonse balefwa mu mibili yabo ne mipashi mu kwambula isambilisho lya kulapila. Bushe ninani wingeshiba ukuti isambilisho lya kulapila lyalilubana sana? Bushe mwalishiba uwalengele Abena Kristu ukuwila mu cilindi ca cimfulunganya ica ku mupashi? Bena Kristu ababembu abene abapepa amapepo ya kulapila cila bushiku mu kuba abasangululwa ku membu shabo abene nelyo balelanda ukuti balitetekela muli Yesu Kristu nga Kapususha wabo. Eico, mulingile ukupokelela ukulekelelwa kwa membu pa kutetekela mu Cebo ca mbilansuma ya menshi no Mupashi iyo Lesa atupeele pa kutendeka. Tamufwile ukupusa ishuko lisuma ilya kufyalwa libili. Ifwe bonse tulingile ukutaluka mu nshila ya mfifi iya cimfulunganya ca ku mupashi pa kutetekela mu Cine ca mbilansuma ya menshi no Mupashi. Elyo, twingalolesha ku lubuuto ulwabengeshima ulwa Cine, ulwaishile ne mbilansuma ya menshi no Mupashi.