Academic literature on the topic 'Karembola'

AbstractThis article reconsiders the relationship between ancestors and colonial power through a comparative analysis of the mortuary rituals of two Malagasy peoples, the Betsimisaraka of the east coast and the Karembola of the deep south. In contrast to analyses which emphasise an opposition between ancestors and colonial power, it argues that mortuary rituals construct striking analogies between the two. These analogies rest on similar conceptualisations of power as both enabling and enslaving, and are enacted in contemporary mortuary ritual through the incorporation of colonial goods and labour practices. By playing on similarities and differences between ancestral and colonial power, Betsimisaraka and Karembola mortuary rituals parody and critique mimetically appropriate colonial power, even as their appropriation of colonial symbols endows ritual practices around ancestors with the power to pull against the centralising power of the national sphere. Bakhtin's conception of heteroglossic language provides a useful way of conceptualising the multiple dimensions of ritual practices around ancestors.

Gandra Pitaloka merupakan visualisasi kisah cinta Dyah Pitaloka putri dari Kadipaten Pakuan dengan Prabu Hayam Wuruk raja dari Kerajaan Majapahit dalam kronologi peristiwa perang Bubat dalam karya tari. Gandra berarti wujud dan Pitaloka diambil dari nama tokoh sumber cerita yaitu Citra Resmi Dyah Pitaloka. Judul ini mengandung arti wujud Dyah Pitaloka. Karya tari ini terinspirasi secara auditif dari syair lagu Karembong Koneng yang menceritakan tentang peristiwa Perang Bubat antara kerajaan Majapahit dan Kadipaten Pakuan. Karya ini diwujudkan dalam bentuk koreografi kelompok dengan sembilan orang penari. Tipe penyajian yang digunakan yaitu tipe dramatik, serta disajikan dengan elemen pertunjukan wayang golek sebagai pengantar cerita. Gerak-gerak dasar tari Sunda seperti tumpang tali, lontang, dan capang, serta unsur dasar gerak silat di antaranya bandul, nangkis, dan nyabet digunakan sebagai pijakan dasar dalam proses pencarian gerak. Musik pengiring dalam bentuk instrumen musik elektrik atau MIDI (Musical Instrument Digital Interface) dengan menggunakan laras Salendro, Pelog, dan Madenda. ABSTRACT Gandra Pitaloka dance is a visualization of the love story of Dyah Pitaloka daughter of Kadipaten Pakuan with Hayam Wuruk king of Majapahit Kingdom in the chronology of Bubat war events. Gandra which means form and Pitaloka was taken from the name of the story source of the official image Citra Resmi Dyah Pitaloka. This title contains the meaning of Dyah Pitaloka's form. This dance work is inspired by audio from Karembong Koneng song lyrics. This poem tells about the events of the war Bubat between the kingdom of Majapahit and Kadipaten Pakuan. This work is manifested in the form of group choreography with the composition of nine dancers. The presentation type used is the dramatic type. Basic movements of Sundanese dance such as tumpang tali, lontang, and capang, and elementary motion of silat which is bandul, nangkis, and nyabet used as a foundation in the process of searching motion. This work is accompanied by music in the form of an electric musical instrument or MIDI (Musical Instrument Digital Interface) by using barrel Salendro, Pelog, and Madenda. And presented with elements of wayang golek show as an introduction to the story. The purpose of this choreography creation is to visualize the love story of Dyah Pitaloka with Hayam Wuruk through the development of basic movements of Sunda dance. The benefits of the creation of this work are to provide a creative process creation experience with the development of motion that departs from the basic movements of the dance of Sundanese and silat, as a form of appreciation of the character of a princess from Kadipaten Pakuan existing in West Java.

Cassava (Manihot esculenta Crantz) is a staple food crop grown by smallholder farmers in the marginal regions of western, coastal and eastern Kenya. The objective of this study was to evaluate popular cassava varieties for yield and cyanide content in the arid and semi-arid regions of Kenya. The study was carried out at five sites located in three sub-counties of Nakuru county in Kenya. Treatments included a collection of 27 sweet cassava varieties obtained from Western Kenya. Results revealed significant variations among varieties in all sites, for all parameters measured. The highest yields were obtained at Subukia, with the variety MM99/0067 yielding up to 200 t ha-1. Cyanide content varied significant among the varieties and sites; and was high in most of the cultivars, with highest levels recorded in variety Rao Onyoni (17.3 mg100 g-1) grown at the Lare site. The highest dry matter content was recorded in variety Selele rabuor (60.5%), at the Solai III site. Participating farmers ranked the materials based on yield, taste and order of general preference as follows: Subukia site (MM96/0067, NyaTanga, Adhiambo Lera, KME-1 and MH95/0183); Lare site (Nyar AICAD, Nyar Maseno, NyaTanga, and MM96/2480); and Solai site (KME-1, Nyar AICAD, Adhiambo Lera, Karembo, and Obaro dak).

Cassava (Manihot esculenta Crantz) is one of the staple food crops grown in Kenya. Diseases remain one of the major constraints for cassava production. Apart from other major viral diseaes Cassava mosaic and Cassava brown streak, Cassava bacterial blight (CBB) caused by Xanthomonas axonopodis pv manihotis and Xanthomonas axonopodis pv cassavae are a major constraint in cassava production in Kenya. This study was done to identify the prevalence, distribution, and farmers' knowledge of cassava bacterial blight in the coastal region of Kenya. A survey was conducted involving 250 farmers who were randomly selected from two regions of Kilifi and Taita Taveta counties. Among the 250 farmers interviewed, 61.6 % identified cassava bacterial blight symptoms in their farms. The main varieties found growing in the region were Tajirika, Karembo, Kibandameno, and Shibe which were all confirmed by farmers as susceptible to cassava bacterial blight. During the survey, plant samples were randomly collected in the field. Out of the 70 samples collected, 40 of them were confirmed positive with X.pv manihotis and X.pv cassavae which cause cassava bacterial blight. The study concluded that there is a widespread of cassava bacterial blight in Kilifi and Taita taveta counties. Kilifi County had the highest incidence of 22% with Taita Taveta having the lowest incidence of 13%. Kilifi County had a higher severity of 8% as compared to Taita Taveta which had 5% Severity. Therefore there is a need for a proper management program to be deployed in managing the disease to enhance cassava production in the region.