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To browse Academia. Frank Gunderson. Aaron L. A consideration of the poetry and prose of Shaa an Robert, one of the giants of Swahili literature, in conjunction with the songs of Samba Mapangala, a popular singer who has become a household name in East Africa, reveals that there are significant points of contact between both popular songs and other forms of verbal art in the region. Allan Marett. One of the most remarkable phenomena within Kenyan verbal art is its tendency to cross generic boundaries and to affect the syncretic combination of elements from various forms of expression This type of artistic creativity, maintaining as it does early roots in Kenyan verbal expression, raises a variety of salient questions.
What devices or methods do these artists use to blend genres? How should scholars accustomed to working within the confines of the story, the poem, or the novel analyze these verbal blends? Where does one situate these new hybrid forms in the larger context of Kenyan and African literature today? Answers to these questions may be found in an examination of two texts one of which is, in fact, derived from the other.
For example, taarab as an East African musical form has a long-standing tradition of poets composing for bands or particular singers. They also challenge us to accept popular song as an expressive tool closely linked to literary forms of verbal expression. Imani Sanga. The article argues that although both poems perform a postcolonial act of subverting the hegemonic position of Western culture amongst Tanzanians, these two poems engage in this process differently.
Peterson Dewah. Singing after the war itself is over, it is argued, the music functions as a reference point to the citizens because it is a transcript of their past experiences something which is essential to the present and future generations. By insisting on educating his audiences on the liberation struggle, Chimbetu satisfies Sankofan approach. Log in with Facebook Log in with Google.
