Relevant bibliographies by topics / Bongo Flava

Academic literature on the topic 'Bongo Flava'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Bongo Flava"

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Stroeken, Koen. "Immunizing Strategies: Hip-Hop and Critique in Tanzania." Africa 75, no. 4 (November 2005): 488–509. http://dx.doi.org/10.3366/afr.2005.75.4.488.

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AbstractTanzania has in the last decade seen a vibrant form of hip-hop emerge that is gaining wide public exposure thanks to its political tenor. First, this article illustrates how rap lyrics reflect Tanzanian political history and in part determine it. Bongo Flava, as the local hip-hop genre is called, has gained credibility by reinterpreting Nyerere's normative legacy and by expanding freedom of expression in the country, while unhampered by factors that normally mitigate the social impact of popular culture. Second, the article explores the global relevance of their social critique. Bongo Flava attempts to outwit the sophisticated indifference and neoliberalism of postcolonial rulers and ruled. Partly inspired by African American popular culture, many songs expose the postcolonial strategy of survival, which is to immunize oneself against the threat of commodification by fully embracing it, the contamination yielding extra power. The lyrics, in their irony and pessimism, exhibit the same immunizing tendency. However, this tendency is curbed by two principles that safeguard streetwise status: the rapper's willingness to ‘duel’ and the Kiswahili credo of activating bongo, ‘the brains’.
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Thompson, Katrina Daly. "“I am Maasai”: Interpreting ethnic parody in Bongo Flava." Language in Society 39, no. 4 (August 18, 2010): 493–520. http://dx.doi.org/10.1017/s0047404510000424.

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AbstractIn the Tanzanian Bongo Flava youth music scene, Abel Motika is a popular artist who uses both verbal and visual markers of Kisongo Maasai ethnicity to style himself as “the Maasai rapper” with the stage name “Mr. Ebbo.” Through analysis of his 2002 song “Mi Mmasai” ‘I am Maasai’, this study investigates his ethnic stylizing in playful use of Maa pronunciation and an understudied Swahili language game known as kinyume ‘backwards style’. The study finds that while Ebbo strategically disrupts the sociolinguistic order that privileges Standard Swahili, the Maasai persona he projects is humorously stylized as unable both to speak Standard Swahili and to engage with the urban lifestyle associated with Tanzania's de-ethnicized Swahili modernity, thereby leaving dominant ideologies of language and ethnicity intact. Moreover, in arguing that Motika's stylization of ethnicity has a contradictory effect, both affirming a local ethnic identity and preserving the logic of ethnolinguistic stereotyping, the study critiques approaches to hip hop that privilige authorial intent and assume linguistic subversiveness. (Swahili, Maa, Bongo Flava, parody, ethnicity, rap, kinyume)*
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Pierson, Michael. "From rage to riches: swag and capital in the Tanzanian hip hop industry." Popular Music 39, no. 3-4 (December 2020): 523–38. http://dx.doi.org/10.1017/s0261143020000434.

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AbstractThis article traces how Tanzanian Bongo Flava hip hop has shifted from a politically conscious genre at the dawn of democratization and liberalization to its contemporary articulations, more commonly aligned with glamorous, geographically abstracted Western pop sensibilities. It argues that ‘swag’, as an intimately embodied and musically performed charisma, has served as a connective thread across political and economic transformations because of its capacity to generate phantasmatic deferrals to common experiences of dispossession. These fetishistic qualities mediate the attachments of artists and consumers within the splintering musical genre, holding open space to reach for a diversity of desired futures.
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Saimon, Musa. "Co-constructing or Deconstructing Gender Identity? A Multimodal Critical Discourse Analysis of Bongo Flava- Song Video Niambie." Profetik: Jurnal Komunikasi 12, no. 1 (June 23, 2019): 5. http://dx.doi.org/10.14421/pjk.v12i1.1582.

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Music like any other media provides a kind of discourse through which social aspects like gender identity of a particular related society can be co-constructed or deconstructed depending on the ideological perspective of the speaker/writer. This paper analyses Bongo Flava-song video ‘Niambie’ using multimodal critical discourse perspective so as to examine if the song involves co-construction or deconstruction of gender identity. Results show that gender identity in the song video is co-constructed in the sense that male gender is dominant over female gender alluding from patriarchal ideology through which men are supposed to dominate women in all life aspects.
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Dissertations / Theses on the topic "Bongo Flava"

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Reuster-Jahn, Uta. "English versus Swahili: language choice in Bongo Flava as expression of cultural and economic changes in Tanzania." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-162769.

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Since around 2011, Bongo Flava musicians use significantly more English in their lyrics than in the previous years, particularly in love songs. This article documents and describes this new trend and discusses the reasons for the change in language use. It reveals that the new development is indicative of a transformation of Bongo Flava towards pop, caused by changes in the domestic market on the one hand and by a growing outward-looking market orientation on the other. These changes are demanding new ways of constructing identities through the use of language
Tangu mnamo mwaka 2011, wasanii wa Bongo Flava walio wengi hutumia kiasi kikubwa cha Kiinge¬reza katika nyimbo zao ukilinganisha na miaka ya nyuma. Hali hiyo inajionyesha zaidi katika nyimbo za mapenzi. Makala hii inaeleza mwelekeo huo mpya na kujadili sababu zake. Inatoa hoja ya kwamba mwelekeo huo umesababishwa hasa na mabadiliko katika soko la muziki ndani na nje ya Tanzania, hasa katika bara la Afrika. Mabadiliko hayo ndiyo yanayosababisha kutumia zaidi lugha ya Kiingereza
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Sanga, Daines. "Traditional Dances and Bongo Fleva: a Study of Youth Participation in Ngoma Groups in Tanzania." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-137461.

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Kasi ya vijana katika kukuza muziki wa kizazi kipya katika kipindi cha utandawazi haiendani na kasi ya ukuzaji wa ngoma za asili. Mpaka sasa haujafanyika utafiti wa kina kuhusu kuzuka kwa tabia hii. Makala haya yanatumia mahojiano na vikundi vya ngoma vitatu halikadhalika wanamuziki wa kizazi kipya kuweka bayana chanzo cha tatizo. Aidha, makala haya yanatumia nadharia ya utendaji kama darubini kuchunguza matatizo ya kijamii, kisiasa, kiuchumi na kiutamaduni yanayowakumba vijana na namna yanavyochochea mfumuko wa tabia hii mpya. Utafiti huu umegundua kwamba uhaba wa mianya ya kiuchumi na kisiasa kwa vijana, nafasi ya ngoma za asili katika jamii ya sasa, mahusiano hasi kati ya vijana na wazee katika kuuendeleza utamaduni pamoja na vijana kutaka maendeleo ya haraka kuwa ndio chimbuko la tatizo.
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Omari, Shani. "Call me ‘Top in Dar’ : the role of pseudonyms in Bongo Fleva music." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90542.

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Over the last two decades Bongo Fleva music has become a popular form of entertainment as well as a key cultural element among Tanzanian urban youth. The objective of this paper is to examine the role of pseudonyms in this musical genre in Tanzania. It focuses on how Bongo Fleva artists adopt their pseudonyms and discusses their role in identity formation among urban youths in contemporary Tanzania. The paper argues that pseudonyms in Bongo Fleva, as in various other fields, have an important role to play in portraying one’s identity, culture, characteristics, profile, actions, hope and imagination.
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Omari, Shani. "Call me ‘Top in Dar’ : the role of pseudonyms in Bongo Fleva music." Swahili Forum 18 (2011), S. 69-86, 2011. https://ul.qucosa.de/id/qucosa%3A11465.

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Over the last two decades Bongo Fleva music has become a popular form of entertainment as well as a key cultural element among Tanzanian urban youth. The objective of this paper is to examine the role of pseudonyms in this musical genre in Tanzania. It focuses on how Bongo Fleva artists adopt their pseudonyms and discusses their role in identity formation among urban youths in contemporary Tanzania. The paper argues that pseudonyms in Bongo Fleva, as in various other fields, have an important role to play in portraying one’s identity, culture, characteristics, profile, actions, hope and imagination.
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Suriano, Maria. "'Mimi ni msanii, kioo cha jamii' urban youth culture in Tanzania as seen through Bongo Fleva and Hip-Hop." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91140.

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This article addresses the question how Bongo Fleva (or Flava, from the word ‘flavour’) - also defined as muziki wa kizazi kipya (‘music of a new generation’) - and Hip-Hop in Swa-hili, reflect Tanzanian urban youth culture, with its changing identities, life-styles, aspirations, constraints, and language. As far as young people residing in small centres and semi-rural ar-eas are concerned, I had the impression that they have the same aspirations as their urban counterparts, especially those in Dar es Salaam. They keep well up to date on urban practices through performances, radio and local tabloids, even if they lack the same job and leisure op-portunities as their city brothers. Although I do not take ‘youth’ as a fixed and homogeneous category, the ‘young generation’ has been assuming a central, though frequently ambiguous, position in many places in Africa (for this issue, see Burgess 2005). Here, however, I have chosen to focus on two urban contexts, namely Dar es Salaam and Mwanza, the sites of my one-and- -half-year fieldwork between 2004 and the end of 2005.
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Reuster-Jahn, Uta. "Let`s go party!" Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91170.

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For over a decade now, Bongo Fleva has been the dominant category of popular music in Tanzania, surpassing Muziki wa Dansi (dance music) and Taarab in terms of its presence in the media. Bongo Fleva has become deversified in the last years and at present includes elements of traditional music as well as popular dance music, both of African and Western origin (Raab 2006: 43 ff.). As a result, contemporary Bongo Fleva is stylistically complex. Ther lyrics of Bongo Fleva are specifically determined by 1) the use of Swahili youth language and slang expressions. 2) the representation of modern and young lifestyles, and 3) socio-critical contens with pedagocial and moralistic tendencies. The lyrics of Bongo Fleva are marked by youth discourse which is most important for the construction of youth identities. While Bongo Fleva text with dialogic structure seem to continue the older tradition of Muziki wa Dansi, the dramatic texts remind of the way folk narratives are told in Tanzania. As the dramatic Bongo Fleva texts make use of direct speech, often of several characters, and without introduction, it seems that traditional techniques of story-telling have an effect on Bongo Fleva rap lyrics. In this article a rap text of this kind, Mikasi (\"Sex\"), released in 2004 by Bongo Fleva artist Ngwair, will be analysed with regard to its form, content and function. As it conteain different roles and dialogues, it is suitable for the investigation of youths`talk. A special focus will be put on the self-portrayal of the youths in the dialogues of the song, and on the question how boasting and dissing is performed in a dialogic text.
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7

Suriano, Maria. "'Mimi ni msanii, kioo cha jamii' urban youth culture in Tanzania as seen through Bongo Fleva and Hip-Hop." Swahili Forum 14 (2007), S. 207-223, 2007. https://ul.qucosa.de/id/qucosa%3A11505.

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This article addresses the question how Bongo Fleva (or Flava, from the word ‘flavour’) - also defined as muziki wa kizazi kipya (‘music of a new generation’) - and Hip-Hop in Swa-hili, reflect Tanzanian urban youth culture, with its changing identities, life-styles, aspirations, constraints, and language. As far as young people residing in small centres and semi-rural ar-eas are concerned, I had the impression that they have the same aspirations as their urban counterparts, especially those in Dar es Salaam. They keep well up to date on urban practices through performances, radio and local tabloids, even if they lack the same job and leisure op-portunities as their city brothers. Although I do not take ‘youth’ as a fixed and homogeneous category, the ‘young generation’ has been assuming a central, though frequently ambiguous, position in many places in Africa (for this issue, see Burgess 2005). Here, however, I have chosen to focus on two urban contexts, namely Dar es Salaam and Mwanza, the sites of my one-and- -half-year fieldwork between 2004 and the end of 2005.
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Book chapters on the topic "Bongo Flava"

1

Zychla, Katarzyna. "Być muzykiem w Tanzanii. Bongo Flava w perspektywie globalnej i lokalnej." In Przemiany kulturowe w Afryce. Historia i antropologia. Warsaw University Press, 2020. http://dx.doi.org/10.31338/uw.9788323541332.pp.373-394.

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