Relevant bibliographies by topics / Swahili poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Swahili poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Swahili poetry"

1

Frolova, Natalya S. "Swahili Terminology in the Context of the Development of the Versification Theory and “Dispute about Poetry”." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 505–20. http://dx.doi.org/10.21638/spbu13.2020.403.

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The article discusses the problem of the development of a scientific approach and Swahili terminology by national Swahili literary science in the context of the emergence of new Swahili poetry in the 1970s against the background of prevailing traditional genres, as well as the comprehension, interpretation and application of this terminology by scientists. Born at the end of the 19th century among European missionaries and scholars, the theory of Swahili versification continued to develop in European-language works until the 1950s when the first critical essay on Swahili versification by the traditional poet Amri Abedi appeared. The emergence of new Swahili poetry in the mid-1970s against the background of traditional genres not only produced the well-known mgogoro wa ushairi (dispute about poetry), but also required the comprehension of poetry itself and Swahili literature as a whole. An important role in this process was the priority of developing a unified scientific approach, as well as Swahili terminology. The emergence of a new Swahili-language poetry embodied in the works of Kezilahabi, Mulokozi, Kahigi and others, from the very beginning posed the task of naming this kind of poetry. The article focuses on the unsettled nature of certain Swahili poetry terms denoting new, modernist, Swahili poetry, a reflection of which is shown by the evident heterogeneity of their use in the studies of literary Swahili scholars of the 2000–2010s.
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2

Mwai, Wangari, Margaret Mwenje, and John Kirimi M’Raiji. "The Construction of Feminine Psychology in Swahili Women’s Nuptial Poetry-Unyago." Journal of Educational and Developmental Psychology 7, no. 1 (March 20, 2017): 241. http://dx.doi.org/10.5539/jedp.v7n1p241.

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This article examines the construction of feminine psychology in Swahili women nuptial poetry-unyago. Unyago poetry is composed and performed by Swahili women. Swahili is a community located along the coastal region of Kenya. This article, therefore, focuses on intersections between psychology and poetry in analyzing and describing how unyago poetry reveals the mindsets and emotions of Swahili women. Data for analysis in article is derived from research carried out among women of Swahili decent living at Kisumu using observation and in-depth interviews as data collection methods. Unyago poetry is viewed as confessions and revelations of the female self, the marriage institution and that of the marital partner. Worth noting is the fact that the women, whose ancestors originated from the coastal region of Kenya, have preserved the nuptial rituals and teachings therein across time and space. Through unyago, the women socialize their girls from children to women and is a deeply rooted practice in their philosophy, psychology, and culture of the Swahili people. Thus, this article contends that unyago is both a reflection of group and individual psychological reactions to cultural expression through poetry.
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3

Method, Samwel. "The Influence of Christianity in Swahili Literature: The Case of Bongo Flavor Poetry Prophesies." Journal of Humanities and Social Sciences 11, no. 1 (June 1, 2022): 29–45. http://dx.doi.org/10.56279/jhss.v11i1.3.

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The influence of religion in Swahili literature has been a centre of Swahili literary scholarship discussions from the 1960s to 1980s. During the time, there were two schools of thought. The first argued that Swahili literature originates from God and that He is the first artist who transmits creative skills to Swahili artists. The second school of thought viewed Swahili literature as a product of socio-economic human activities, and that God has no place in it. By the late 1980s, the discussion on the place of God in Swahili literature appeared to be concluded by a good number of scholars supporting the second school of thought. Consequently, today scholars seem to be in agreement that God has no place in Swahili literature. This article, however, views this agreement as a serious oversight. Since the Swahili society believes in various kinds of gods and religions, there is no way their literature will be free from the influence of gods and religions. Therefore, this article presents the influence of Christianity in Swahili literature, citing examples from prophesies of bongo flavor poetry.
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4

Imamu, Juma D. "Analysis on the Semantics, Syntax, Equivalence, Fluency and Authenticity of Seif Salum�s Poem Entitled �Ewe Bibi Mwenye Enzi� Translated into English as �This Love�." Indonesian Journal of English Language Studies (IJELS) 3, no. 2 (April 17, 2018): 87–92. http://dx.doi.org/10.24071/ijels.v3i2.1068.

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This paper analyses the semantics, syntax, equivalence, fluency and authenticity of the translation of a Swahili poem entitled Ewe Bibi Mwenye Enzi by Seif Salum which was translated into English by the poetry translation workshop from the site http://www.poetrytranslation.org/poems/in/swahili/P12 as This Love. The introductory part discusses and pays recognition to the concept of untranslatability of the poetry where writers, such as Adam Czerniawski, Hatim Basil and Munday Jeremy, second the idea that poetry is untranslatable since poetry is a reflection of a particular society. Poetry also uses language but language is the reflection of peoples definition of their immediate environment, hence in that sense poetry is untranslatable since different societies have different views of their environments and the world. However, due to the increased curiosity which is partly a result of globalization of the world, people want to have diverse knowledge of everything. This makes it necessary to translate poetry anyway. In this case, poems, such as this one, have also been translated. Therefore, this paper tries to make analysis on how the change of language from Swahili to English have affected the semantics, syntax, equivalence, fluency and authenticity of the style and message of the poem.Keywords: translatability, poetry, style, message, authenticity
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5

de Voogt, Alex. "Sikujua’s Writing of Muyaka’s Poetry in Arabic Script." Journal of Islamic Manuscripts 15, no. 1 (December 19, 2023): 5–20. http://dx.doi.org/10.1163/1878464x-01401005.

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Abstract Muyaka’s poetry as it is known today was first recorded in the 1890s, mainly written down by Mwalimu Sikujua who used Arabic script as well as an adapted Swahili-Arabic writing system to document the language. Sikujua’s versatility when using the Arabic script as well as his use of variant spellings suggest a writing practice that embraces rather than avoids orthographic variation. His use of diacritics including the shadda and hamza is particularly noteworthy. Muyaka’s poems with their frequent repetitions as well as the writing of the poet’s name feature multiple spellings by Sikujua even when applying the adapted Swahili-Arabic script. Sikujua invented solutions that best approach a Swahili pronunciation but he also displays a detailed understanding and creative use of a wide range of Arabic signs and diacritics. The complexities of writing Swahili with Arabic script benefit from Sikujua’s creativity. It is this versatility and creativity that has been largely ignored and misinterpreted as merely inconsistent in studies where standardization is considered preferable.
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6

Topan, Farouk. "Projecting Islam: Narrative in Swahili poetry." Journal of African Cultural Studies 14, no. 1 (June 2001): 107–19. http://dx.doi.org/10.1080/136968101750333996.

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7

Raia, Annachiara. "Texts, Voices and Tapes." Matatu 51, no. 1 (June 18, 2020): 139–68. http://dx.doi.org/10.1163/18757421-05101002.

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Abstract In this paper, I seek to investigate the manifold relationships between traditional and contemporary, oral and written Swahili poetry—in the utendi and mashairi forms—and its recitation in terms of the following considerations: how have advances in technology changed the production, transmission and reception of Swahili Islamic poetry? To what extent do writing and orality coexist in a recited text? What is the nature of performer identity formation within a “discourse network” of artists—the composer (mtungaji), reader (msomaji), and singer (mwimbaji)—who, in Goffman’s words, play “participation roles” and appropriate poetry belonging to other living poets or to their own (sometimes anonymous) ancestors? In an attempt to answer these questions, I provide examples of performers and their performative craft.
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8

Frolova, N. S. "Swahili Poetic Tradition: Main Stages of Development (on Example of Tendi and Mashairi Genres)." Nauchnyi dialog 11, no. 9 (December 1, 2022): 227–51. http://dx.doi.org/10.24224/2227-1295-2022-11-9-227-251.

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The stages of development of the main traditional Swahili poetic genres of tendi and mashairi, starting from the period of their formation and ending with the current state are discussed in the article. On the example of the most significant works of classics and modernity, the formal and stylistic features of the studied genres are analyzed, the question is raised about their continuity and innovative techniques in the context of non-literary factors. The conclusion is made about the development of genres within the framework of a change in the types of artistic consciousness, which manifests itself as the East African society establishes and develops — from awareness of one’s own national identity to an ever-greater inclusion in the global literary process. The last stage of the destruction of tradition, the rejection of the traditional form for today, was expressed in the phenomenon of the transformation of the form of the Old Swahili verse, which is demonstrated in the article on the example of the most prominent representatives of the so-called modernist poetry in Swahili. It is concluded in the article on the role of the author, whose figure manifests itself in different ways at each of the stages of development of Swahili poetry: from controversial authorship at the stage of formation of literature to pronounced features that characterize the specific unique authorial style at the later stages of the development of the studied poetry.
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King’ei, Kitula. "Aspects of Autobiography in the Classical Swahili Poetry: Problems of Identity of Authorship." Folklore: Electronic Journal of Folklore 16 (2001): 87–96. http://dx.doi.org/10.7592/fejf2001.16.swahili.

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10

Garnier, Xavier. "World Visions in Swahili Literature." Journal of World Literature 4, no. 1 (March 6, 2019): 129–44. http://dx.doi.org/10.1163/24056480-00401007.

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Abstract Probably because of its relationship with a coastal culture, Swahili literature seems very aware of its position in the world. Through a reading of Swahili poems and novels across a range of genres, this paper explores the ways in which Swahili writers have engaged in a dialogue with the whole world, from the colonial period to the contemporary era. The evolution of well-identified literary forms such as epic poetry, ethnographic novel or crime novel will also pave the way for identifying the specificities of a Swahili cosmopolitanism anxious to cultivate an art of living in the age of a kind of globalization whose effects are often harshly felt at the local level. Because it has long developed an awareness of the world, Swahili literature has often pioneered the invention of literary forms that are able to translate locally the movements of the world.
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Dissertations / Theses on the topic "Swahili poetry"

1

Musau, John M. "Gudrun Miehe, Die Sprache der älteren Swahili Dichtung (Phonologie und Morphologie)." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-95401.

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For the students of Swahili poetry that predates the twentieth century (e.g. Muyaka, Alinkishafi, Mwana Kupona, Hamzivva and others) there has always been a dire need for a book which could aid in the understanding of this poetry. This need is made acute by two main reasons: Firstly, classical Swahili poetry is written partly in what is known as Kingozi, an archaic form of language believed by many to be some kind of proto-Swahili. Secondly, the language of old Swahili poetry also incorprates a lot of features from the northern dialects of Swahili (e.g. Kiarnu, Kip ate, Kisiu etc) This combination of archaic Swahili and features from the northern dialects of the language renders both the understanding and the explication of the pre-twentieth Swahili poetry rather difficult for many readers.
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2

Zúbková-Bertoncini, Elena. "Some remarks on Kithaka wa Mberia's poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90886.

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Kithaka wa Mberia (b.1956) is one of the most innovative Kenyan poets. Until now he has published four collections of poems and three plays. His poems contain a strong political and social criticism, sometimes in the form of animal allegories. He condemns various acts of violence done to women, like rapes of schoolgirls or prostitution caused by poverty. Some compositions seem life-stories of real persons, others are overtly didactic and moralizing, but in all the theme of social justice is almost obsessive. Another group of poems highlights the author’s concern with his surroundings and with the “health conditions” of the Earth in general; thus, for instance, he denounces the devastation of Kenyan soil in order to get foreign currency. His love of nature makes him address affectionate verses to animals, insects and plants. Formally the poems have little in common with the poetic tradition of the Swahili coast as they are in free verse. Kithaka exhibits a rich vocabulary of botanical and zoological terms and is fond of various forms of word-playing like chiming and punning; an important role in his poetry is played by parallelism. Moreover, he introduces into Kiswahili visual poems where typography is relied upon to perform expressive effects. Kithaka wa Mberia, together with other East African contemporary poets, proves that Swahili poetry is able to express universal themes and can reach a high artistic value even without repeating traditional models.
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3

Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91009.

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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.
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4

Zúbková-Bertoncini, Elena. "Some remarks on Kithaka wa Mberia's poetry." Swahili Forum 17 (2010), S. 91-103, 2010. https://ul.qucosa.de/id/qucosa%3A11480.

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Kithaka wa Mberia (b.1956) is one of the most innovative Kenyan poets. Until now he has published four collections of poems and three plays. His poems contain a strong political and social criticism, sometimes in the form of animal allegories. He condemns various acts of violence done to women, like rapes of schoolgirls or prostitution caused by poverty. Some compositions seem life-stories of real persons, others are overtly didactic and moralizing, but in all the theme of social justice is almost obsessive. Another group of poems highlights the author’s concern with his surroundings and with the “health conditions” of the Earth in general; thus, for instance, he denounces the devastation of Kenyan soil in order to get foreign currency. His love of nature makes him address affectionate verses to animals, insects and plants. Formally the poems have little in common with the poetic tradition of the Swahili coast as they are in free verse. Kithaka exhibits a rich vocabulary of botanical and zoological terms and is fond of various forms of word-playing like chiming and punning; an important role in his poetry is played by parallelism. Moreover, he introduces into Kiswahili visual poems where typography is relied upon to perform expressive effects. Kithaka wa Mberia, together with other East African contemporary poets, proves that Swahili poetry is able to express universal themes and can reach a high artistic value even without repeating traditional models.
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5

Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Swahili Forum 11 (2004) S. 75-81, 2004. https://ul.qucosa.de/id/qucosa%3A11490.

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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.
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6

Ranne, Katriina. "Heavenly drops: the image of water in traditional Islamic Swahili poetry." Swahili Forum 17 (2010), S. 58-81, 2010. https://ul.qucosa.de/id/qucosa%3A11479.

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Iba Ndiaye Diadji, a Senegalese professor of aesthetics, sees water as intrinsic to African ontology. He also argues that water is the most important substance to inspire African artists. (Diadji 2003: 273–275.) Water certainly has a significant role in Swahili poetry, written traditionally by people living on the coast of the Indian Ocean. Swahili poems have used aquatic imagery in expressing different ideas and sensations, in different contexts and times. Water imagery can be found in hundreds of years old Islamic hymns as well as in political poetry written during the colonial German East Africa. This article discusses water imagery in traditional Islamic Swahili poetry.
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7

Musau, John M. "Gudrun Miehe, Die Sprache der älteren Swahili Dichtung (Phonologie und Morphologie)." Swahili Forum; 2 (1995), S. 216-217, 1995. https://ul.qucosa.de/id/qucosa%3A11632.

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For the students of Swahili poetry that predates the twentieth century (e.g. Muyaka, Alinkishafi, Mwana Kupona, Hamzivva and others) there has always been a dire need for a book which could aid in the understanding of this poetry. This need is made acute by two main reasons: Firstly, classical Swahili poetry is written partly in what is known as Kingozi, an archaic form of language believed by many to be some kind of proto-Swahili. Secondly, the language of old Swahili poetry also incorprates a lot of features from the northern dialects of Swahili (e.g. Kiarnu, Kip ate, Kisiu etc) This combination of archaic Swahili and features from the northern dialects of the language renders both the understanding and the explication of the pre-twentieth Swahili poetry rather difficult for many readers.
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8

Rettová, Alena. "Philosophy in Utenzi metre: expression of ideas and values in postindependence Swahili historiographic poetry." Swahili Forum 17 (2010), S. 34-57, 2010. https://ul.qucosa.de/id/qucosa%3A11478.

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Makala haya yanachanganua jinsi dhana za kifalsafa zinavyoakisiwa katika ushairi wa Kiswahili yakizingatia hasa tenzi zilizoandikwa kuhusu historia za dola za Kiafrika baada ya kupatikana kwa Uhuru. Tenzi nyingi za kundi hili zilitungwa Tanzania wakati wa ujamaa, ndiyo maana itikadi zinazoelezwa zaidi katika tenzi hizi zinahusiana na falsafa ya ujamaa. Uelekeo huu unaonyeshwa katika uchambuzi wa Utenzi wa Pambazuko la Afrika uliotungwa na Mohammed Seif Khatib na kuchapishwa mwaka 1982, ambao unaakisi falsafa ya ujamaa, itikadi za umoja wa Afrika (Panafricanism) na upingani wa ukoloni, ukigusana pia na imani ya Afrika kuwa chanzo cha mawazo mengi ya kifalsafa (Afrocentrism). Kwa namna hii, inaonekana kwa uwazi kwamba utungaji wa tenzi ni njia muhimu sana ya kueleza falsafa ya kisiasa na ya kihistoria katika utamaduni wa Kiswahili. Njia hii inalingana na njia nyinginezo: mawazo hayohayo yanaelezwa vilevile katika vitabu vya kitaaluma (kwa mfano, vitabu vya Mwalimu Nyerere kuhusu ujamaa), katika riwaya, au katika ushairi wa aina nyingine (kama vile mashairi, ngonjera, n.k.). Tenzi nyingine za hili kundi la ‘tenzi za Uhuru’ zinaakisi vilevile falsafa za aina nyingine, ikiwemo falsafa ya kidini inayotokana na dini ya Uislamu au falsafa ya ‘utu’, ambayo ina mizizi mirefu sana katika tamaduni nyingi za Afrika. Kwa kumaliza, makala yanasisitiza kwamba, tukipenda kufahamu ‘falsafa ya Kiafrika’ ni nini, ni lazima tutazame njia zilizoko na vyombo vilivyoko katika tamaduni za Kiafrika vya kuelezea dhana na thamani, bila ya kutarajia kwamba njia hizo na vyombo hivyo vitakuwa vilevile au vitafanana kimsingi na vyombo vya kawaida vya kuelezea falsafa katika tamaduni za Magharibi (yaani maandishi ya kitaaluma kuhusu falsafa). Ushairi ni njia mojawapo, tena muhimu sana, ya kueleza mawazo ya kifalsafa katika utamaduni wa Kiswahili, lakini ziko na njia nyingine, kama vile maelezo ya taaluma mbalimbali na tanzu nyingi za fasihi na sanaa, ambazo inafaa zitambulikane na ichambuliwe katika fani ya falsafa.
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Vierke, Clarissa. "Of plants and women." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91137.

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In contrast to the \'classical Islamic tendi\' where the action as well as the setting is commonly detached from the environmental context of the Swahili coast, the Liyongo poems show an abundance of detailed descriptions and enumerative reviews of material items crucial and characteristic of the particular East African shares of Swahili culture. Frequently reference is also made to the natural environment as plants and their fruits play a prominent role as requisits of both the Swahili natural and cultural setting. Apart from being exploited as central requisite and being referred to as material source in the poems, plants are also extensively used for similes. The Liyongo poems are full of culturally metaphors which are context-dependent and sometimes render the text rather obscure. Without denying that there is, of course, also contemporary poetry employing plants as subject matter or metaphors, in this article I focus on two thematically close poems which we vaguely have to classify as \"old\" while not being able to give exact dates. Although the article suggests to be a thematic view on Swahili poetry, it is primarily a text edition of two poems, the \"Song of the Mjemje\" and the \"Shairi la Mtambuu\", which are both presented together with a critical apparatus.
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Rettová, Alena. "Philosophy in Utenzi metre." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90858.

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Makala haya yanachanganua jinsi dhana za kifalsafa zinavyoakisiwa katika ushairi wa Kiswahili yakizingatia hasa tenzi zilizoandikwa kuhusu historia za dola za Kiafrika baada ya kupatikana kwa Uhuru. Tenzi nyingi za kundi hili zilitungwa Tanzania wakati wa ujamaa, ndiyo maana itikadi zinazoelezwa zaidi katika tenzi hizi zinahusiana na falsafa ya ujamaa. Uelekeo huu unaonyeshwa katika uchambuzi wa Utenzi wa Pambazuko la Afrika uliotungwa na Mohammed Seif Khatib na kuchapishwa mwaka 1982, ambao unaakisi falsafa ya ujamaa, itikadi za umoja wa Afrika (Panafricanism) na upingani wa ukoloni, ukigusana pia na imani ya Afrika kuwa chanzo cha mawazo mengi ya kifalsafa (Afrocentrism). Kwa namna hii, inaonekana kwa uwazi kwamba utungaji wa tenzi ni njia muhimu sana ya kueleza falsafa ya kisiasa na ya kihistoria katika utamaduni wa Kiswahili. Njia hii inalingana na njia nyinginezo: mawazo hayohayo yanaelezwa vilevile katika vitabu vya kitaaluma (kwa mfano, vitabu vya Mwalimu Nyerere kuhusu ujamaa), katika riwaya, au katika ushairi wa aina nyingine (kama vile mashairi, ngonjera, n.k.). Tenzi nyingine za hili kundi la ‘tenzi za Uhuru’ zinaakisi vilevile falsafa za aina nyingine, ikiwemo falsafa ya kidini inayotokana na dini ya Uislamu au falsafa ya ‘utu’, ambayo ina mizizi mirefu sana katika tamaduni nyingi za Afrika. Kwa kumaliza, makala yanasisitiza kwamba, tukipenda kufahamu ‘falsafa ya Kiafrika’ ni nini, ni lazima tutazame njia zilizoko na vyombo vilivyoko katika tamaduni za Kiafrika vya kuelezea dhana na thamani, bila ya kutarajia kwamba njia hizo na vyombo hivyo vitakuwa vilevile au vitafanana kimsingi na vyombo vya kawaida vya kuelezea falsafa katika tamaduni za Magharibi (yaani maandishi ya kitaaluma kuhusu falsafa). Ushairi ni njia mojawapo, tena muhimu sana, ya kueleza mawazo ya kifalsafa katika utamaduni wa Kiswahili, lakini ziko na njia nyingine, kama vile maelezo ya taaluma mbalimbali na tanzu nyingi za fasihi na sanaa, ambazo inafaa zitambulikane na ichambuliwe katika fani ya falsafa.
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Books on the topic "Swahili poetry"

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Amidu, Assibi A. Kimwondo: A Kiswahili electoral contest. Wien: Afro-Pub, 1990.

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Mgeni, Raymond N. Usiichoke safari. Dar es Salaam, Tanzania: Vipawa Media, 2017.

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Bendera, Ibrahim Mbiu. Utenzi wa Nelson R. Mandela. Dar es Salaam, Tanzania: Mbiu Communications Ltd., 2015.

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Mtanga, Fadhy. Hisia. Mbeya, Tanzania: UWARIDI, 2018.

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Hancha, Abdallah Said. Sibanduki Afrika. Dodoma, Tanzania: Hancha Books, 2015.

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Sendoro, Jeremiah Elinaza. Mashairi yenye nuru. Dar es Salaam, Tanzania: Zanur General Enterprises, 2018.

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1841-1926, Sarahani bin Matwar, ed. Kale ya washairi wa Pemba: Kamange na Sarahani. Dar-es-Salaam: Mkuki na Nyota, 2011.

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Ghassani, Mohammed. N'na Kwetu: Sauti ya megeni ugenini. Bonn: Zanzibar Daima Publishing, 2016.

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Biersteker, Ann Joyce. The significance of the Swahili literary tradition and interpretation of early twentieth-century political poetry. Boston, Mass: African Studies Center, Boston University, 1990.

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Gudrun, Miehe, ed. Kala shairi: German East Africa in Swahili poems. Köln: Köppe, 2002.

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Book chapters on the topic "Swahili poetry"

1

Brown, Nicholas Mainey. "Swahili Poetry, Classical Tradition." In Encyclopedia of African Religions and Philosophy, 650–53. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_362.

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2

Brown, Nicholas Mainey. "Swahili Poetry, Stylistics and Metrics." In Encyclopedia of African Religions and Philosophy, 653–57. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_363.

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Nyangeri, Nahashon O. "Swahili Poetry and Atrocity in Postcolonial Kenya." In Cultural Archives of Atrocity, 329–48. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429262166-24.

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"On Stylistic Trends in Modern Swahili Poetry." In Style in African Literature, 235–51. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207553_014.

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Hinnebusch, Thomas J. "Capturing the lexical richness of Swahili poetry." In Language, Culture, Literature Intertwined. The Swahili Perspective. University of Warsaw Press, 2023. http://dx.doi.org/10.31338/uw.9788323561996.pp.79-98.

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"Akhi patia kalamu: Writing Swahili Poetry in Arabic Script." In The Arabic Script in Africa, 319–39. BRILL, 2014. http://dx.doi.org/10.1163/9789004256804_016.

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7

Kresse, Kai. "Ahmed Sheikh Nabhany Swahili poetry and the conservation of cultural knowledge." In Philosophising in MombasaKnowledge, Islam and Intellectual Practice on the Swahili Coast, 104–38. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748627868.003.0005.

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"4 AHMED SHEIKH NABHANY SWAHILI POETRY AND THE CONSERVATION OF CULTURAL KNOWLEDGE." In Philosophising in Mombasa, 103–38. Edinburgh University Press, 2007. http://dx.doi.org/10.1515/9780748631735-009.

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9

Mahazi, Jasmin. "Shaping and Being Shaped by Lamu Society: Ustadh Mau’s Poetry in the Context of Swahili Poetic Practice." In In This Fragile World, 30–40. BRILL, 2022. http://dx.doi.org/10.1163/9789004525726_004.

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Vierke, Clarissa, and Chapane Mutiua. "The Kaiser, Angoche and the world at large: Swahili poetry from Mozambique as world (war) literature." In African Literatures as World Literature. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501379987.ch-006.

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