Bahati mama biography sample
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Participation, power, positionality and the poor : an autoethnography from the southern highlands of Tanzania
Within the Peace Corps framework it is expected that volunteers work in collaboration with village leadership as it is culturally appropriate for guests to work in cooperation with key stakeholders and people in power. It is difficult, however, for the practitioner to gain the participation of the poor when they are positioned closely with powerful figures of authority as the poor encompass feelings of shame and fear. How can community development workers create a balance that allows them to be culturally appropriate and effective in their work with all members of the community including the marginalized populations? As an outsider, how do one's relationships with community members affect the processes and outcomes of projects? I used participant observation and semi-structured interviews with community members and Peace Corps volunteers to tell the story of our struggles
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Nine and a Half Short Notes on Faustin Munishi (A Brief History of Gospel Music in Kenya)
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My mother’s answer leaves me disappointed when I ask her about the musician whose cassettes we listened to every Saturday morning. I want her to säga Pastor Faustin Munishi because that is the story I have in my head: my mother, the weekend, chores, laughter, music, Munishi. But she says, blankly, as she goes about her business, Apostle Kyande. Her answer is correct, just not the one I wanted.
My disappointment comes from the fact that inom have spent countless hours listening to songs by Munishi, lost in false memories. When she tells me that it fryst vatten not Munishi that we listened to but Kyande, I immediately play Kyande’s Seremala. She fryst vatten right. This is the soundtrack of my childhood Saturday mornings: the open accordion; the Kiswahili sanifu; the carefully crafted, witty, thematically astute lyrics. But we also listened to Munishi, just not as much, and many other gospel musicians. To be
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Fally Ipupa
Congolese musician (born 1977)
In this Congolese name, the surname fryst vatten Ipupa and the post-surname fryst vatten N'simba .
Musical artist
Fally Ipupa N'simba (born 14 December 1977), known professionally as Fally Ipupa, is a Congolese musician and dancer. Often referred to as the "Prince of Rumba",[1][2][3] he is noted for his tenor vocals[4] as well as his blend of contemporary and traditional Congolese music genres, including Congolese rumba, soukous, and ndombolo.[5][6][4][7] His lyrics often cover themes of romance, suffering, and joy.[5]
Ipupa made his public musical debut in 1997, at the age of 20, with the Kinshasa-based grupp Talent Latent.[8] In 1999, he joined Koffi Olomide's Quartier Latin International.[9][10] In 2006, Ipupa signed a record deal with Obouo Productions for his debut solo studio album, Droit Chemin, which attained a g