Congo (Zaire) Major peoples Azande, Chokwe, Songo, Kongo, Kuba to centralized chiefdoms, from settledindigenous village communities The luba Empire was founded by NKongolo http://www.zyama.com/Iowa/Countres/Congo (Zaire).htm
Extractions: Country: Congo (Zaire) Location: Central Africa Independence: June 30, 1960 Nationality: Congolese Capital City: Kinshasa Population: Important Cities: Kisingani, Lubumbashi, Kolwesi Head of State: Lawrence Kabila Area: 2,300,000 sq.km. Type of Government: Republic Currency: 3 millions Z=1 USD Major peoples: Azande, Chokwe, Songo, Kongo, Kuba, Lunda, Bembe Religion: Christian 70%, African religion 20%, Muslim 10% Climate: Equatorial Literacy: Official Language: French Principal Languages: Lingala, Azande, Chokwe, Kongo, Luba Major Exports: Copper, Cobalt, Zinc, Diamonds, Manganese, Gold, Bauxite Pre-Colonial History Post-Colonial History Back to the Museum
A F R I B E A T example of a new accompainment to an indigenous form of song. The performer wasLubaShankadi. Bemba and Tumbuka; these are also all heptatonic peoples. http://www.afribeat.com/archiveafrica_hughtracey_newrelease1.html
Extractions: Hugh Tracey historic recordings Cape Jazz 1959 - 1963 The preservation of grace - the Buena Vista Social Club From the foot of the Shrine of Fela Kuti ... Ubuyile - Jazz coming home radio documentaries Past, present and future are inextricably linked. And the music of Africa reflects this in its experiences and realities. There are some exciting archives that capture this, private collections that represent it and slowly fading oral histories that tell of all the pains, tragedies and triumphs. In the new urban culture during the fifties in the copper mining towns of Katanga province in southern Congo and on the Copperbelt in northern Zambia, the guitar became an important status symbol. The Katanga guitar style came from the rich likembe tradition of the Luba peoples, whereas on the Zambian Copperbelt the guitar songs are very diverse - being either traditionally based or heavily influenced by the mainly American music, popular in the fifties, played by the radio station specifically set up for African broadcasts. An exciting document, with some famous names such as Mwenda Jean Bosco and George Sibanda, of the emergence of a new sound.
The Wellesley College Illuminator--February 1998 she conducted independent fieldwork on indigenous religious rituals wide area of otherpeoples and cultural The extraordinary refinement of luba figurative art http://www.wellesley.edu/PublicAffairs/Illuminator/illuminator298.html
Extractions: Two Seniors Named Rhodes Scholars Laura A. Tavares and Julie H. Levison, both members of the class of 1998, have been awarded Rhodes Scholarships. These prestigious scholarships, established in 1904 by the estate of Cecil Rhodes, give American college students the opportunity to attend Oxford University in England. The program was not opened to women until 1976; Levison and Tavares become the sixth and seventh Wellesley women to be named Rhodes Scholars since then. Levison, a history major who plans to become a doctor, will study the history of medicine, particularly social responses to modern epidemics. Since arriving at Wellesley, she has received a First Year Academic Distinction, earned a summer fellowship to study tumor immunology at the Wistar Institute in Philadelphia, and co-authored an anthology of women's travel journals, Magic Sites: Women Travelers to the Americas. She has served as a student board member of the Wellesley Center for Research on Women and was a student representative to the College's Board of Trustees. She has also run the Boston Marathon. A resident of Bryn Mawr, Penn., Levison graduated in 1994 from Friends' Central School in Wynnewood, Penn. Tavares, a religion major, plans to undertake an in-depth study of Christian history and theology, part of her long-term goal of pursuing a Ph.D. in religion and becoming a college professor. A Phi Beta Kappa who received a First Year Academic Distinction, she spent the spring of 1997 at the School for International Training in Quito, Ecuador, where she conducted independent fieldwork on indigenous religious rituals and taught English in a local school. She is a student representative to the Board of Trustees and current Literary Chair of the Zeta Alpha Literary Society on campus. A resident of East Falmouth, Mass., she is a 1994 graduate of Falmouth Academy.
CHAPTER TWO Bisa, Lamba, Lala, Chewa, Kaonde, luba, and others among both patrilineal and matrilinealpeoples of Zambia book is written in Chewa indigenous Central African http://www.bridgewater.edu/~mtembo/africantraditionalfamily.htm
Extractions: T he subject of "traditional family patterns in Africa" is so broad that it cannot be adequately addressed in one chapter. The cultural and physical diversity added with the dramatic social changes of the last three decades on the continent makes the family pattern situation so variegated as to defy any sweeping generalizations. This difficulty in generalization bone of diversity was already apparent to many early scholars of the African traditional family like Mair1 and Goode2. Baganda of Uganda and Bemba of Northern Zambia. Some of the major issues raised will include polygamy, tribe, clan, the extended family, bride price and the raising of children. PERVESITY OF POLYGAMY Baganda people of Uganda provide the best illustration.7 Baganda found that, "Polygyny, the type of marriage in which the husband has plural wives, is not only the preferred but the dominant form of marriage for the Baganda."8 Commoners had two or three, chiefs had dozens, and the Kings had hundreds of wives. What was the structure of the polygynous family? Baganda , the nuclear family of the mother, father, and their children constitutes the smallest unit of the Baganda kinship system, the traditional family consists of "...... several nuclear units held in association by a common father."9 Because the
Suggested Research Topics/Guide & Selective Reference Sources in ..society A study of indigenous musical instruments in of the Akan and Senufopeoples A systematic Tempels, P. lubaShankadi sound recording Tervuren http://aaas.ohio-state.edu/dka/342eguid.htm
Extractions: Sample Research Proposal You may also, depending on the nature of your research project/paper, append a brief bibliography of relevantsources that will inform your paper. Remember DEADLINES, as specified in IMPORTANT DATES section of the syllabus. State the topic in a clear, precise manner. Sometimes a subtitle is helpful in breaking down or clarifying down the subject further, for example: (a) PROTEST SONGS AS A MEDIUM FOR COMMUNICATING WORKERS' GRIEVANCES DURING THEDEPRESSION: A STUDY OF FIFTEEN LYRICS OR: (b) THE INFLUENCE OF CHURCH HYMNS ON PROTEST SONGS OF THE DEPRESSION: A STUDY OFFIFTEEN LYRICS The aim of this project is to investigate the verbal content of fifteen protest songs selected from the Depression (ca. 1927-1933) era, with focus on how the messages of the songs reflect workers experiences and expectations. In addition, the study will examine specific performance techniques employed in order to impress the messages on the audiences. A basic assumption of this project is that the situation of protest is a socially significant one and that the song texts and manner of performance will be influenced in many ways by the uniqueness of the situation. [Or: A basic hypothesis of this project is that there is a relationship between the situation of protest and the song texts, including the manner in which they are performed.]
Artnet.com: Resource Library: Musical Instruments Musical instruments. Although created primarily for the production of sound,many musical instruments are equally valued for their visual appeal. http://www.artnet.com/library/06/0605/T060562.ASP
Extractions: Musical instruments. Although created primarily for the production of sound, many musical instruments are equally valued for their visual appeal. Considered from a musicological point of view, the study of instruments is usually based on categorization by structure and/or method of sound production. This article, however, is mainly concerned with the visual aspects of musical instruments and the inherent implications for those who design or decorate them. Instruments are, of course, usually conceived as functional objects: they are made to be played. Their design must satisfy demands external to visual considerations, which may both significantly restrict and create opportunities for the designer. Undecorated instruments may have an undeniable beauty derived from their materials and acoustically determined shapes, but these are beyond the scope of this article, as are ornamental non-functional instruments, such as a violin made of Delft faience (?17th century; Amsterdam, Rijksmus.). There are more than 45,000 articles in The Grove Dictionary of Art . To access the rest of this article, including the bibliography
