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Dissertations / Theses on the topic 'Kenyan music'

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Published: 4 June 2021

Last updated: 12 February 2022

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1

Akuno, Emily Achieng. "The use of indigenous Kenyan children's songs for the development of a primary school music curriculum for Kenya." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.363106.

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2

Floyd, Malcolm. "Music in enculturation and education : a Maasai case study." Thesis, Birmingham City University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322731.

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3

Nyakiti, Charles. "The life and work of four Kenyan composers, with special reference to the influence of Luo traditional music and dance." Thesis, Queen's University Belfast, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356954.

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4

Gitonga, Priscilla Nyawira. "Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.

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This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - An overview of the Kenya of today, in particular that of the diverse and hybrid ethnic, linguistic, musical and cultural practices of Nairobi, and of the various youth cultures in that city, as well as in an overview of the extent of the HIV/Aids pandemic in Kenya, especially amongst the youth of Nairobi, with some reflection on existing interventions. - An overview of current trends in popular music analysis and an explanation of the author’s own eclectic semiotic analytical methodology within this context. The study concludes that a repeating strategy may be discerned on the part of the composers and performers in question, namely, to first engage audiences through language and music with which they are familiar, and then to encourage audiences to confront the unknown and unfamiliar in music and language, but also ultimately in terms of their social practices. The known and the familiar is highlighted both in the lyrics and in the music itself. It includes use of commonlyspoken languages and dialects, popular musical styles typical of the particular sub-culture, and references to the day-to-day experiences of the ordinary person.

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5

Jantsch, Nancy E. Jennings. "\"Briefly It Enters\" : a song cycle by William Bolcom from poems by Jane Kenyon." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978614.

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6

Ngige-Nguo, Josiah Edward. "The role of music amongst the Gikuyu of the Central Province of Kenya." Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335452.

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7

Gearhart, Rebecca Kathleen. "Ngoma memories a history of competitive music and dance performance on the Kenya coast /." [Florida] : State University System of Florida, 1998. http://etd.fcla.edu/etd/uf/1998/amd0044/ngoma.pdf.

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Thesis (Ph. D.)--University of Florida, 1998.
Title from first page of PDF file. Document formatted into pages; contains xii, 291 p.; also contains graphics (most in color) and 8 video clips. Vita. Includes bibliographical references (p. 214-226).

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8

Ngugi, Pamela M. Y. "Nafasi ya muziki uliopendwa katika fasihi ya kiswahili." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98110.

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Nyimbo, kama tanzu ya fasihi yeyote ile zina majukumu mbalimbali ambayo hutekeleza katika jamii. Lengo kuu la fasihi ni lile la kuielimisha na hata kuiburudisha jamii. Ndivyo ilivyo katika nyimbo kwa sababu kupitia kwazo wanajamii huburudika na kuelimishwa. Ni kwa sababu hiyo ndipo makala hii inalenga kuangalia nafasi ya nyimbo zinazopendwa katika fasihi ya Kiswahili. Huu ni utanzu ambao huwafikia watu wengi katika jamii. Kutokana na kutumia lugha ya Kiswahili, utanzu huu unaweza kueleweka na Wakenya wengi. Nchini Kenya, vyombo vya habari vimeipa fasihi hii nafasi kubwa sana na hivyo basi kuipanua hadhira yake. Hii ni kutokana na sababu kuwa fasihi hii inathaminiwa sana na wengi na ipewe nafasi kubwa katika vyombo vya habari hasa katika redio kwa muda mrefu. Ni kutokana na sababu hii ndipo tunajaribu kuonyesha nafasi yake katika fasihi ya Kiswahili.

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9

Eagleson, Ian. ""Nyatiti is my people" Music and the Reconstruction of Culture Among the Luo of Western Kenya." Oberlin College Honors Theses / OhioLINK, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1544696356736898.

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10

Wakaba, Philip N. "Preserving traditional Agikuyu music : the development of a comprehensive teaching guide." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536757.

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Access to abstract permanently restricted to Ball State community only
Titles of accompanying sound discs. Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music.
Access to thesis permanently restricted to Ball State community only
Titles of accompanying sound discs: Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music.
School of Music

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11

Okongo, Benson Charles Odongo. "Promoting child development through music: A comparision of preschool teachers' perspective in Kenya and United States." Thesis, Wichita State University, 2009. http://hdl.handle.net/10057/2503.

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This qualitative study examined teachers' perceptions on their use of music as a medium for enhancing development in all early childhood domains/areas (e.g., cognitive, communication, physical/motor, social-emotional and self help). Eight early childhood teachers, four drawn from Kenya and four from the United States, responded to open ended interview questions about their experiences of teaching and using music in their classrooms and personal preparation for use of music in teaching young children. Observations in preschool classrooms were also conducted by the researcher to document the use of technologies, musical instruments and music resources used to observe planned or natural opportunities for children's involvement in music. Results revealed strategies used to teach music, the role of music in early childhood curricula, instructional strategies used including singing and movement and use of musical instruments. Additionally, similarities and differences of early childhood music use are compared between preschool programs in Kenya and the United States. Implications for practice are offered which includes but not limited to collaborations, workshops, and policy change.
Thesis [M.Ed.] -- Wichita State University, College of Education, Dept. of Curriculum and Instruction

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12

Dearden, Jennifer Lorien. "The American Trumpet Sonata in the 1950s: An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3982.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded May 31, 2004, Apr. 18, 2005, Oct. 24, 2005, and June 11, 2007. Includes bibliographical references (p. 73-74).

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13

Barnes, Kenton Emery Verfasser], and Rüdiger [Akademischer Betreuer] [Heinze. "Intertextuality, Intermediality and Mediality in Benjamin Britten’s Nocturne, Op. 60 / Kenton Emery Barnes ; Betreuer: Rüdiger Heinze." Braunschweig : Technische Universität Braunschweig, 2017. http://d-nb.info/1175817473/34.

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14

Nyehita, Suzanne Ghati. "The Operation and Regulation of Collective Management Organizations of Music Works in the Digital Era: A Review of Kenya’s Legislative Framework." Master's thesis, Faculty of Law, 2017. http://hdl.handle.net/11427/30555.

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The era of digitization has brought about new categories of copyright works and new modes of dissemination of these works. This has affected music works copyright, collective management of these rights and the law of copyright as a whole. Scholars hold different opinions on the effect of technological advancement on collective management. One tier believes that it expands the role of CMOs by providing the most appropriate and convenient way to exercise these new bundles of rights. The other tier believes that CMOs might become irrelevant since new technologies enable copyright holders to maintain a direct relationship with users. Consequently, this dissertation seeks to prove that digitization is complementary to the role of CMOs. It is complementary if and when the legislative structure is reformed to contain technology specific provisions. In turn this would justify the continued existence of CMOs. The research will focus on collective management of music works in Kenya. A majority of Kenyans have access to internet making it easier to use and disseminate musical works in the digital environment. This research questions whether this type of usage is subject to collective management and whether the current copyright laws facilitate collective management in the digital environment. The main hypothesis developed is: effective regulation of copyright offers a better attempt at ensuring efficiency of CMOs in the digital era. Kenya’s copyright laws have been amended severally to reflect changes in copyright law. Constant litigation in the area of copyright seeking to interpret the application of current statutory provisions in the digital era, offers a clear indication that the amendments and application of the current copyright laws is not effective given the technological evolution. African countries like South Africa and Nigeria have started their legislative journey in amending their copyright laws. Kenya needs to appreciate the need to amend the current copyright laws and start its own journey of regulating copyright in the digital era.

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15

Riegel, Marcus L. "An analytical and historical examination of six works for middle level wind band: Bells of freedom (grade 1) by David Gillingham, Rising star (grade 1) by Samuel R. Hazo, Achilles’ wrath (grade 2) by Sean O’Laughlin, Kenya contrasts (grade 2.5) by William Himes, On the wings of swallows (grade 3) by Michael Sweeney, and Old churches (grade 3) by Michael Colgrass." Kansas State University, 2008. http://hdl.handle.net/2097/1130.

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Master of Music
Department of Music
Frank C. Tracz
The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Marcus L. Riegel. The recital, performed by the Chapman Middle School Sixth, Seventh, and Eighth Grade Bands, was given in the District Gymnasium at the Spring Arts Concert on April 22, 2008 at 7:00 pm. The repertoire included but was not exclusive to Bells of Freedom by David Gillingham, Rising Star by Samuel R. Hazo, Achilles’ Wrath by Sean O’Loughlin, Kenya Contrasts by William Himes, On the Wings of Swallows by Michael Sweeney, and Old Churches by Michael Colgrass. This document contains theoretical and historical analysis- and outlines the procedures of planning and performing the graduate conducting recital.

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16

Peck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.

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17

Nyairo, Joyce Alice Wambui. ""Reading the referents". (INTER) textuality in contemporary Kenyan popular music." Thesis, 2006. http://hdl.handle.net/10539/1855.

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Student Number : 0302215H - PhD thesis - School of Language and Literature Studies - Faculty of Humanities
This study explores the meaning of contemporary Kenyan popular music by undertaking literary interpretations of song lyrics and musical styles. In making these interpretations, the fabric of popular song is shown to be a network of referents and associations with texts situated both within and outside of the song-texts. As polyphonic discourse, these vast range of textual and paratextual referents opens up various points of engagement between artiste, songtext and audience and in the process, the surplus meanings generated by both the poetry of the text and the referents embedded within it account for the significance of popular songs as concrete articulations that mediate the realities of modern Kenya. Through the six chapters that make up the core of the study we see the mini-dramas that are played out in the material conditions within which the songs are produced; in the iconographies that are generated by artistes' stage names and album titles; in the strategies of memory work that connect present-day realities to old cultural practices; in the soundtracks of urban spaces and in those of domesticated global cultural trends and finally, in the mediation of the antinomies surrounding the metanarrative of the nation and the realization of political transition. I conclude by suggesting that Kenyan popular music demonstrates how contemporary postcolonial texts inform one another, opening up a dialogue between texts and also between local events, experiences and knowledges. Equally important, the study defines contemporary Kenyan culture by working out the sources of the images and idioms built up in this music and accepting the complexities of postcolonial existence as a site of fluid interaction between various cultural practices and competing modernities.

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18

Mjomba, Leonard Majalia. "Empowering Kenyan youth to combat HIV/AIDS using ngoma dialogue circles : a grounded theory approach /." 2005. http://wwwlib.umi.com/dissertations/fullcit/3175383.

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19

Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.

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Accompanying music files attached (mp3)
The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group.
Arts History, Visual Arts & Musicology
D. Mus.

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20

Njenga, Maureen Charity Muthoni. "Mugithi perfomance as a form of social cohesion among the Agikuyu of Kenya." Thesis, 2010. http://hdl.handle.net/10413/9502.

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This research investigated what the musical characteristics of mwomboko music were, what its social characteristics were in terms of performers, listening, venues and class relations to what extent this music functioned as a means of engendering feelings of personal empowerment under conditions of social exclusion and how this music functioned as a catalyst for social cohesion. This study is necessary for it may contribute to the further study of the mugithi one-man guitar performance. I worked with the theoretical approach that music can create or maintain social cohesion. I also looked a how it can contribute to group solidarity and so increase the effectiveness of collective action. I am worked with the theory of social cohesion through music which works with the idea that music can be used as an avenue to create a sense of belonging to a group or community. Through the affirmation of the society's identity music also ended up affirming the individual 's identity. While this study specifically focused on mwomboko music within mugithi performance style there were factors that had and continued to influence this type of music's performance and growth. This study shall try to investigate ways in which the development in Kenya influenced music's role in social identity, why music is used as a channel for social cohesion and the issues that bring up ethnic identity within multicultural urban setting.
Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2010.

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21

Chong, Pek Lin. "Kenyah recreational songs and ther significance to music education." Thesis, 2014. http://hdl.handle.net/2263/40240.

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The Kenyah, an indigenous group dwelling in the mountainous plateau region and the upper reaches of four major rivers of Borneo, constitute one of many minority communities in Sarawak, the largest state of Malaysia. This small, isolated community has nurtured refined forms of visual and performing arts, such as the music of the sape, a boat-shaped lute which has become a national cultural emblem. Kenyah historical and socio-cultural background is shown to have played a major role in shaping the development of a sophisticated choral singing tradition featuring homophonic harmony. Their substantial repertoire of attractive recreational songs and community-wide participation in musicking form the focus of this thesis, viewed from the perspective of music education. The growing stature of world musics within the sphere of music education has led to increasing collaboration between ethnomusicologists and music educators to investigate and disseminate traditional genres. Kenyah songs, being distinctly Asian in flavour, yet largely conforming to classical Western musical syntax, would be especially valuable for world music programmes. However, in Malaysia, the shortage of available, relevant teaching materials, especially folksongs in a variety of tonalities, ill-equips the teachers to teach music genuinely reflecting local cultures, or to implement international approaches such as those of Kodály and Orff. Analysis of over eighty songs documented during fieldwork in two different river-systems since 1996 demonstrated that they display a range of tonalities (predominantly pentatonic, hence especially amenable to Kodály programmes), emotional variety, rhythmic consistency and associated dance movements. The song-texts feature poetic references to a variety of interesting subjects. Responses from schoolchildren, workshop-participants and teacher-trainees demonstrated that the songs held wide appeal for both inherent and delineated meanings. Many succeeded in mastering the melody, lyrics, harmony and movements despite lack of familiarity with the language. Choral performances of the songs, although attracting some points of criticism regarding modifications, drew approval from culture-bearers who expressed gratification that non-Kenyah could perform songs fast disappearing from their own community. Kenyah recreational songs would thus be a timely addition to music classes and to choral repertoire around the world.
Thesis (DMus)--University of Pretoria, 2014.
gm2014
Music
Unrestricted

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22

Wanyama, Mellitus Nyongesa. "Form and content of African music a case study of Bukusu circumcision music /." 2005. http://upetd.up.ac.za/thesis/available/etd-10182006-105355/.

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23

Li, ChenYu, and 李晨瑜. "Beat in Life – Mobility and Transformation of Kenya Gospel Music in Globalization." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/h8ukat.

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碩士
國立臺南藝術大學
民族音樂學研究所
104
Facing the globalization tide, contemporary Christian music or called gospel music, has rushed into African countries in the 19th century and gradually become a bright and distinctive music genre which possess locality. In recent years, people have to adapt one's thinking to the new situation that Kenyan popular music and recording techniques in going to flourish. This phenomenon is as congregation worshiping in churches as is the case with call-and-response style that people always applaud, shout or dance in black communities. Therefore, this research on the basis of Appadurai’s mediascape and technoscape attempt to realize gospel music of youth in One Vibe Africa association and want to know about this kind of music in the transition from a pre-modern or traditional to a modern society and how media in rapidly changing society shape their own gospel music. In the beginning, the study explores mission movements and political developments after the 19th century, and describes traditional belief and music in Luo community. Secondly, to realize gospel which control and urge on Kenya social things as web site, technology has become more popular today. Finally, by joining local choirs, learning their tradition instruments, and interact with students, I discover how the new generation overcome the difficulties that "oral culture" has been going to disappear, and reconstruct their own music context and order.

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24

Musungu, Gabriel Joseph. "Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite." Thesis, 2010. http://hdl.handle.net/10500/3680.

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Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns.
Art History, Visual Arts & Musicology
D. Litt et Phil. (Musicology)

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25

Kigunda, Muriithi [Verfasser]. "Music and health in Kenya : sound, spirituality and altered consciousness juxtaposed with emotions / von Muriithi Kigunda." 2007. http://d-nb.info/985161833/34.

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26

Van, Niekerk Letitia. "Intimidation as a factor in the liberation struggle in South Africa with special reference to Bela Bela (Warmbaths) : an anthropological perspective." Diss., 1999. http://hdl.handle.net/10500/17744.

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INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances.
INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik.
Anthropology and Archaeology
M.A. (Anthropology)

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