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Journal articles on the topic 'Swahili poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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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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9

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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11

Vierke, Clarissa. "Comparing the Incomparable? On the Poetic Use of Language in Swahili Hip-Hop and ‘Classical’ Swahili Poetry." Matatu 46, no. 1 (2015): 81–112. http://dx.doi.org/10.1163/9789004298071_007.

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12

Mbele, Joseph L. "Wimbo wa Miti:an example of Swahili women's poetry∗." African Languages and Cultures 9, no. 1 (January 1996): 71–82. http://dx.doi.org/10.1080/09544169608717800.

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13

Rettová, Alena. "The Genres of Swahili Philosophy." Philosophy & Rhetoric 56, no. 1 (April 2023): 8–32. http://dx.doi.org/10.5325/philrhet.56.1.0008.

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ABSTRACT This article maintains that African philosophy should consider those discourses that function as channels of important ideas in African cultures, without prejudice against their language and, especially, their genre. What are such philosophical discourses? This article starts from a case study, Swahili culture, and interrogates the communicative resources available to it to serve as vehicles of philosophical thought. The survey includes language itself, proverbs, musical performance (sung lyrics), metric and free-verse poetry, novelistic prose, theoretical writings, and translations. Based on this spectrum of genres, the article ventures some general observations about the relationship of African philosophy to language and genre.

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14

Moskvitina (Siim), Anna. "National language as an object of modern Kiswahili poetry in the Roman and Arabic scripts in East Africa." Language in Africa 4, no. 2 (December 25, 2023): 89–112. http://dx.doi.org/10.37892/2686-8946-2023-4-2-89-112.

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The article presents a survey of Kiarabu, a tradition of writing in Swahili using the Arabic script, as an integral component of the so-called East African Swahili civilization which since the Medieval Times had been constituted as a network of coastal and island sultanates extending from the South of Somali to the North of Mozambique along the coast of the Indian Ocean. In the colonial times this kind of indigenous literacy gradually came out of use being replaced with the Roman script-based literacy within the project of standardization and making the standard form of Kiswahili an official language in British East Africa. However, Kiarabu still remains an occasional practice and a means to manifest Swahili cultural identity in some areas, where poets-traditionalists write verses in it involving newly designed dialect-based modifications of the alphabet.

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15

Diegner, Lutz. "Metatextualities in the Kenyan Swahili novel: A case study reading of Kyallo Wamitila’s Dharau ya Ini." Tydskrif vir Letterkunde 58, no. 1 (May 21, 2021): 127–38. http://dx.doi.org/10.17159/tl.v58i1.9151.

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Contemporary Swahili novels transgress the boundaries of the novel text itself. They employ metatextualities of different categories in order to fulfil a variety of functions. In this essay, I explore metatextualities in the Kenyan Swahili novel, and provide a case study reading of one of the novels by the prolific and award-winning writer Kyallo Wadi Wamitila. My reading of Wamitila’s novel Dharau ya Ini (Contempt of the Liver, 2007) concentrates on metanarration and metareference. I analyse how narration, especially point of view, is used and how it is discussed and reflected upon by the text and in the text itself (metanarration). Another focus will be put on instances of metareference, especially on references to oral literature and to the literary genres of drama and poetry, as part of a work of prose. These analyses are done by a close reading informed by current research on metatextualities, and, in one of the examples, by phonostylistics. A general purpose of this study is to show how Swahili novel writing as African language writing participates in global discourses on, and practices in, literature and the arts. In a perspective of East(ern) African literature, it argues that Swahili literature and literary studies provide stimuli to literary theory and practice otherwise still dominated by its Anglophone counterpart in the region, and beyond. As regards Swahili literature, it reflects the crucial impact of Kenyan writing since about the turn of the millennium, in a sphere hitherto dominated by writers from Tanzania. The study is part of a research project I am undertaking in analysing metatextualities in contemporary Swahili novels by both Tanzanian and Kenyan writers.

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16

Topan, Farouk. "Biography Writing in Swahili." History in Africa 24 (January 1997): 299–307. http://dx.doi.org/10.2307/3172032.

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Any meaningful assessment of biography and autobiography writing among the Swahili as a historical source needs to take at least three factors into consideration. The first is the influence of Arab literary traditions on the emergence of the genre on the East African coast; the second is the relationship between literacy and orality, and its implication for writing and narration in an African context. The role of colonialism, and the introduction of the Western “mode” of biography and autobiography writing, forms the third factor. The aim of the paper is to survey these factors, not chronologically, but as part of a general discussion on the notion and status of the genre in the Swahili context.Swahili interface with Arabic as an essential ingredient of Islamic practice laid the foundation for the development of literate genres on the East African coast, among them the biographical and the historical. In the process, Swahili adopted styles of narrative expression which are reflected in the terms employed for them. The most common are habari (from the Arabic khabar) and wasifu (from wasf). In its original usage, khabar denoted a description of an event or events that were connected in a single narrative by means of a phrase such as “in that year.” It lacked a genealogy of narrators, and the form was stylistically flexible to include verses of poetry relevant to the events. In Swahili the current meaning of the word habari is “information” and “news” (and, hence, also a greeting) but, as a historical genre, it has been used in two ways. The first is in relation to the history of the city-states recounted through documents whose titles include the word, khabari/habari, (or the plural, akhbar in Arabic), usually translated as “chronicle(s).”

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Timammy, Rayya, and Amir Swaleh. "THEMATIC ANALYSIS OF UTENDI WA MWANA KUPONA: A SWAHILI/ISLAMIC PERSPECTIVE." International Journal for Innovation Education and Research 1, no. 3 (November 30, 2013): 60–72. http://dx.doi.org/10.31686/ijier.vol1.iss3.116.

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This paper has the objective to make a thematic analysis of a classic poem Utendi wa Mwana Kupona using a Swahili/Islamic approach. The poem is believed to have been written by Mwana Kupona binti Mshamu in 1858. The poem is intended to be a motherly advice to her daughter about her religious and marital duties in a Swahili society.As a background to this paper, it was found out that Swahili culture has been greatly influenced by Islam. Ever since Arab, Persian, Indian and other merchants from Asia and the Middle East visited the East African coast to trade or settle, the Waswahili people embraced Islam. The Islamic religion influenced Swahili culture greatly. One of the more direct influences was the adoption of the Arabic script which the Swahili used to write their poetry and used it for other communication.The Arabic language had a lot of impact on the Kiswahili language, enriching it with new vocabulary, and especially religious and literary terminology. This is why a majority of the Waswahili are Muslims; hence Islam is an attribute accompanying the definition of ‘Mswahili’. A modest estimate would put words borrowed from the Arabic language into the Kiswahili language at between twenty to thirty percent.The eighteenth and nineteenth centuries saw a rapid development of written Kiswahili literature, especially in verse form. The majority or almost all of the poets of the time were very religious or very knowledgeable about Islam. This is the reason most poems of the time were pervaded by Islamic religious themes or other themes but definitely using an Islamic perspective. Utendi wa Mwana Kupona is one such verse. It is a mother’s advice to her daughter about her duties and obligations towards God, and specifically, towards a husband.

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18

Kresse, Kai. "Knowledge and Intellectual Practice in A Swahili Context: ‘Wisdom’ and The Social Dimensions of Knowledge." Africa 79, no. 1 (February 2009): 148–67. http://dx.doi.org/10.3366/e000197200800065x.

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This article investigates ‘wisdom’ from an ethnographic perspective that pays attention to the ways in which knowledge is performed, appreciated, negotiated and questioned in everyday life in Mombasa, on the Swahili coast. It discusses the baraza setting (daily meeting points for male social peers) as a venue for intellectual practice and the appreciation of wisdom. Basic features of communicative interaction identified there can also be found to be in play when looking at case studies of individuals and their performances. The article looks at how two genres (didactic tenzi poetry and Ramadhan lectures) are used by Swahili intellectuals who are regarded as exceptional in their field. Verbal, performative and social skills are found to be crucial aspects of wisdom, which also has to do with being able to engage with common social concerns in a manner that leads to further insight and intellectual orientation for others. In this sense, social responsibilities and moral obligations in the use of knowledge play an important role. Overall, the article seeks to contribute to a general discussion of wisdom, based on insights gained on the East African coast.

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19

Renju, Peter. "Mwalimu Nyerere Engages His People: Scripture Translation in Swahili Verse." Journal of Translation 3, no. 1 (2007): 41–53. http://dx.doi.org/10.54395/jot-28r5t.

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Julius Nyerere, the former president of Tanzania, was renowned for his political leadership. He was also an accomplished and dedicated poet, teacher, and translator. Having translated Shakespeare into his beloved Swahili language before becoming president, he took up Bible translation in his retirement. His goal was not simply to communicate his message faithfully and clearly, as any Bible translator should do, but also to engage his audience in a direct and personal way. Instead of the usual prose of the Gospels and Acts, he adopted the ancient but still popular poetic form of the tenzi as the most effective means of conveying his message. He used vocabulary that was familiar to his audience from the Arabic Islamic culture in which they live and political terminology that they associated with him while he was their national leader. Through the creative use of poetry, the poet-teacher-translator sought to engage his readers and listeners and impress upon them the relevance of the Message of Good News for their lives today.

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Gaudioso, Roberto. "A Literary Approach to Avoiding Objectification of the Text: Reading Kezilahabi and Beyond." Annali Sezione Orientale 77, no. 1-2 (June 21, 2017): 3–32. http://dx.doi.org/10.1163/24685631-12340024.

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It is well known that, in contemporary studies, the cultural and post-colonial critique mainly focuses on the context of art and literature. My paper highlights the importance of a newWerkimmanente Interpretation, which focuses on the textquaaesthetic process. Thus, in other words, the text will be considered as a living event, meaning an experience of senses and knowledge. The text should be the centre of different hermeneutic approaches which involve translation and comparison, reader’s reception, theories of knowledge, immanent interpretation of the text and literary language. Translation is not only a product, but a process of comprehension (incorporation) and restitution (incarnation) of a text through the constitution of an analogue. This paper intends to propose a multi-systematic mode of poetry analysis, related especially to the poetics of the Swahili writer Euphrase Kezilahabi.

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21

Lukamika, Kibigo Mary. "How Poetry as A Dual Genre Draws its Themes from the Author’s Origin, History and Setting: A Case Study of Two Selected Kiswahili Poetry Books." East African Journal of Education Studies 4, no. 1 (December 21, 2021): 129–37. http://dx.doi.org/10.37284/eajes.4.1.516.

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The study explores how poetry as a dual genre draws its themes from the origin, history and setting or environs of the author in the society. Basically, literature like any other art has its own way of expressing its aesthetic value. This is done through the channel of language. On the other hand, literature has many genres. Despite that, poetry is considered to be the most ancient genre in many communities universally. Poetry, therefore, is a genre that has a dual nature, which implies that it is a genre of both oral and written literature. Kiswahili poetry encompasses itself fully with the society in question, its ideologies, philosophies, traditions, culture, and the general life of the Swahili people without taking into consideration the language in which it was constructed. Therefore, it is not possible to disassociate the Kiswahili poetry from their culture as it is fully drawn from their way of life. Since a people’s culture is enclosed in their language, this study selected two Kiswahili Poetry books through purposive sampling to show how poetry draws its themes from the author’s origin, history, setting, and culture. The selected books were: Sikate Tamaa (Said A. Mohamed) and Dhifa (Euphrase Kezilahabi) The study employed the Hermeneutics theory as interpreted by (Newmark and Michael Forster, 2007) . This theory was very vital to this study as it puts into consideration the words used, the history and culture of the author, context, and specific analysis of the text to come up with the objective of the general text. The study also used textual analysis as well as an observation checklist to analyse data. The study discovered that poetry is rich and has a lot to be desired as far as teaching and depicting the author’s origin, history, and setting in the society is concerned hence drawing the themes from that. This study aimed at highlighting the need for more in-depth research as this can reduce the negative notion that poetry is a hard and complicated genre to some learners and scholars. There is also a need for the poetry learners to identify the history of the author in order to provide a starting point for the analysis in question. Therefore, the study proposes that poems be taught at all levels of learning and their various elements in order to enlighten the Kiswahili and English students, scholars, and researchers.

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Berman, Nina. "Utenzi, War Poems, and the German Conquest of East Africa: Swahili Poetry as Historical Source, by José Arturo Saavedra Casco." Research in African Literatures 40, no. 3 (September 2009): 241–42. http://dx.doi.org/10.2979/ral.2009.40.3.241.

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Edmund Payne, Joseph Francis. "José A. Saavedra Casco, Utenzi, War Poems, and the German Conquest of East Africa: Swahili poetry as historical source.Trenton NJ and Asmara: Africa World Press (pb $29.95 – 978 1 5922 1378 8). 2007, 336 pp." Africa 79, no. 3 (August 2009): 468–69. http://dx.doi.org/10.3366/e0001972009000953.

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Arenberg, Meg. "The Digital Ukumbi: New Terrains in Swahili Identity and Poetic Dialogue." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1344–60. http://dx.doi.org/10.1632/pmla.2016.131.5.1344.

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In this essay I address the remediation of the centuries-old East African practice of poetic dialogue in the twenty-first-century digital social network of Facebook. Focusing on an online duel between two young poets from Mombasa, I demonstrate how East Africa's new media are transforming traditional poetic conventions in Swahili. Even sites that endeavor to preserve authentic literary Swahili have become in practice controversial crossroads of language, culture, and identity. By bringing voices of Swahili cultural authority, which draw from the East, into sustained contact with voices of the contemporary urban youth culture, which draws from the West, these new media are ultimately opening new terrains for literary production and debate.

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Gunderson, Frank. "Poetry in Motion: 100 Years of Zanzibar’s Nadi Ikhwan Safaa. Directed by Ron Mulvihill. Produced by Kelly Askew and Werner Graebner. DVD. 2016. Distributed by Jahazi Media Gris-Gris Films. Subtitles in Arabic, English, French, Swahili. 71 minutes. Available at www.poetryinmotionfilm.com." African Music: Journal of the International Library of African Music 10, no. 2 (2016): 227–28. http://dx.doi.org/10.21504/amj.v10i2.2050.

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Ntarangwi, Mwenda. "Alamin Mazrui. Swahili Beyond the Boundaries: Literature, Language, and Identity. Athens: Ohio University Press, 2007. Ohio University Research in International Studies: Africa Series no. 85. x + 206 pp. Notes. Bibliography. Index. $24.00. Paper. - José Arturo Saavedra Casco. Utenzi, War Poems, and the German Conquest of East Africa: Swahili Poetry as Historical Source. Trenton, N.J.: Africa World Press, 2007. xvi + 323 pp. Photographs. Maps. Tables. Notes. Glossary. Bibliography. Index. $29.95. Paper." African Studies Review 52, no. 1 (April 2009): 220–22. http://dx.doi.org/10.1353/arw.0.0140.

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McConnachie, Boudina. "Poetry and Languid Charm, 2007: Swahili Music From Tanzania and Kenya - From the 1920s to the 1950s. Topic Records Ltd. - TSCD 936. Compiled by Janet Topp Fargion, Curator, World and Traditional Music Section, British Library Sound Archive. One compact disc. Booklet (15 pp.) with notes by Janet Topp Fargion and photographs." African Music: Journal of the International Library of African Music 8, no. 1 (2007): 132–34. http://dx.doi.org/10.21504/amj.v8i1.1722.

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Arenberg. "Tanzanian Ujamaa and the Shifting Politics of Swahili Poetic Form." Research in African Literatures 50, no. 3 (2019): 7. http://dx.doi.org/10.2979/reseafrilite.50.3.04.

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Eisenberg, Andrew J. "Poetry and Languid Charm: Swahili Music from Tanzania and Kenya from the 1920s to the 1950s.2007. World and Traditional Music Section of the British Library Sound Archive. Topic Records TSCD936. Compiled and annotated by Janet Topp Fargion. 15 pp. of notes in English. 1 colour, 3 b/w photographs, 5 illustrations, 1 map. 5-item bibliography, 4-item discography. 1 compact disc, 16 tracks (54:40)." Yearbook for Traditional Music 40 (2008): 182–83. http://dx.doi.org/10.1017/s0740155800012236.

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Vierke, Clarissa. "Of Patience and Pity: Rewriting and Reciting the Widely Travelled Islamic Poem “The Hawk and the Dove” in East Africa." Islamic Africa, December 19, 2022, 1–37. http://dx.doi.org/10.1163/21540993-20220003.

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Abstract The Swahili poem of “The Hawk and the Dove” (Kozi na Ndiwa) has long been popular along the Swahili coast. In brief, the poem tells the story of the prophet Musa, who is put to the test by the angels Mikaili and Jibrili, disguised as a dove and a hawk. The dove, fleeing the famished hawk, finds refuge in the folds of Musa’s clothes. The bird of prey, approaching Musa, claims its right to the dove, since it is hungry. Musa faces a dilemma: he understands the hawk’s argument but is also full of pity for the dove. When he finally offers to cut off a part of his own right thigh to feed the hawk, the birds reveal themselves as the two angels and praise the prophet. “The Hawk and the Dove” has been a travelling Islamic poem par excellence: like many other popular Swahili Islamic poems dating back to the eighteenth, but mostly the nineteenth century – the heyday of Swahili Islamic poetry, having flourished amid the Sufi movements and their emphasis on poetry in vernacular languages as a means to ignite religious zeal in wider audiences – the poem is also based on sources that have widely travelled the Indian Ocean. Swahili poets creatively adapted them into Swahili verse, just as other Muslim poets in North Africa, West Africa, and, earlier, the Iberian Peninsula did for the discourses relevant to their own contexts. This contribution takes the double optic of providing a first text edition of the most ancient surviving Swahili manuscript of the poem. Secondly, I view the poem amid a longer history of circulation beyond the Swahili coast, as well as compare it with other popular, vernacular versions in the Arabic dialect of Algeria, Hausa in Nigeria, and the earlier adaptations by moriscos from the Iberian Peninsula in Aljamiado. This kaleidoscope of various rewritings of the story allows me to see the Swahili-specific readings more clearly in contrast.

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Sheila Pamela Wandera- Simwa. "Mafumbo ya mwanamke katika mashairi teule ya Muyaka." Eastern Africa Journal of Kiswahili (EAJK) 4, no. 1 (September 19, 2022). http://dx.doi.org/10.51317/eajk.v4i1.245.

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Ikisiri Azma kuu ya makala hii ni kuchanganua mafumbo ya mwanamke wa Kiswahili wa karne ya kumi na tisa katika ushairi wa Kiswahili wa kipindi hicho. Kwa kutumia mashairi teule ya Muyaka, sura ya mwanamke huyo inabainishwa. Mwandishi anaongozwa na nadharia ya uhalisia hasa mhimili wa lugha unaosisitiza kuwa lugha sharti iambatane na wakati wake ili iweze kueleweka na wasemaji wake kimuktadha na kimatumizi. Mbali na kudurusu makala muhimu maktabani, mtafiti kwa kuelekezwa, alikwenda nyanjani kuwahoji Waswahili kuhusu utamaduni wao, hususan ule wa karne ya kumi na tisa. Katika makala hii, imedhihirika wazi kwamba, picha ya mwanamke wa Kiswahili inayochorwa katika mashairi teule ya Muyaka ina misingi yake katika utamaduni wa Waswahili wa karne hiyo. Makala hii itasaidia katika kuelewesha picha ya mwanamke wa Kiswahili wa karne ya kumi na tisa kama alivyosawiriwa katika ushairi wa Kiswahili wa karne hiyo. Maneno muhimu: Mafumbo, uhalisia, utamaduni, shairi. Abstract The main objective of this paper is to analyse puzzles depicting the Swahili woman of the 19th century as portrayed in the Kiswahili poetry of that era. Using Muyaka’s selected poems and employing the realism theory, this research identified several puzzles through the terminologies used, that contextualiSed and depicted the Swahili Woman of the 19th Century. The researcher used both library and field research. It is clear that the image of the Swahili woman as portrayed in the puzzles of the selected poems of Muyaka emanates from the Swahili culture of the 19th Century. This paper gives a clear understanding of the Swahili woman as portrayed in the Kiswahili poetry of the 19th Century. Key terms: Puzzles, Realism, Culture, Poem.

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Simala, KI. "Religion and the Development of Swahili Political Poetry." Journal for Islamic Studies 22, no. 1 (November 30, 2009). http://dx.doi.org/10.4314/jis.v22i1.48388.

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Mulokozi, Mugyabuso M. "A Survey of Kiswahili Literature: 1970-1988." Afrika Focus 8, no. 1 (March 7, 1992). http://dx.doi.org/10.21825/af.v8i1.5850.

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A survey is given of the development of Kiswahili written literature during the past two decades. Particular attention is given to (a) the rise of the socially critical literature, (b) the emergence of experimental forms of literature, (c) the growing popularity of pop'fiction, (d) the continued development of the nationalistic-cum- cultural novel and (e) the quantitative and qualitative growth of Kiswahili translations. All this is placed against the background of East-African cultural and political developments since Independence.KEY WORDS: Tanzania, Swahili, literature (poetry, drama, fiction), East African historical and political development

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Aja, Bryan. "BOOK REVIEW: Utenzi, War Poems, and the German Conquest of East Africa: Swahili Poetry as Historical Source, by José Arturo Saavedra Casco." Transit 4, no. 1 (November 26, 2008). http://dx.doi.org/10.5070/t741009736.

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