Dissertations / Theses on the topic 'Muslim national communism'

Thesis (M.A. in National Security Affairs)--Naval Postgraduate School, September 2006.
Thesis Advisor(s): Alice Lyman Miller, Tuong Vu. "September 2006." Includes bibliographical references (p. 73-78). Also available in print.

This thesis is an investigation of how to achieve walkability over steep urban topography greater than Americans with Disabilities Act accessible 8.33% standard. I studied how landscape architects and architects have overcome challenging topography in a variety of international cities and how to increase connectivity in the steep terrain of Washington D.C.'s Anacostia neighborhood. Specifically, this thesis explores the roles of staircases in the city and how staircases can enhance the experience of moving through the city. Topographic changes can be an obstacle to walk on: the steeper the path the harder it is to move through it, which in turn may encourage a person to use a car to travel between low and high points in the city. My hypothesis is that steep topography can be an enhancement to walkability in the city. The experience of traveling through steep terrain is unique as it can provide visually engaging environment of walking, including expansive views of the city, engaging architecture, and physical exercise. To test this hypothesis, I designed two distinct routes over steep topography to connect the Frederick Douglass National Historic Site, the Smithsonian's Anacostia Community Museum, a sports field, and the Fort Stanton Recreation Center. The paths respond to L'Enfant's method for laying out the city in "diagonal avenues superimposed over a grid system" (Nps.gov, 2018) and the very steep terrain of Anacostia, which seems to defy in places the orthagonal and axial relationships underlying L'Enfant's plan. Drawing on both L'Enfant's ordering scheme of the city and the given form of the two hundred foot escarpment above Anacostia, the design demonstrates that paths through steep terrain can be a great asset, revealing the larger order of the city through views to the monumental core, bringing people through the native forest, making more direct connections between the civic infrastructure, including the Frederick Douglass National Historic Site and the Smithsonian's Anacostia Community Museum. It shows that expanding the notion of walkability to include terrain that is not ADA accessible is important, and can be the impetus for the strategic inclusion of accessible paths where the topography permits.
Master of Landscape Architecture

Bibliography: leaves 163-173.
This thesis examines marital discord and dissolution within the Muslim community in the Western Cape. The writer contends that the rising incidence of divorce in a community may indicate underlying social upheaval especially within its family unit. Marriage and divorce reveal individual characteristics, faulty norms and disfuntionality that may be generalised to greater societal trends within a community. The aim of this study is to identify the main reasons and contributing factors that lead to divorce. Such data will assist in planning and supporting proactive communal programmes to reduce the high divorce rate in the community.

What are grassroots “Canadian Muslims” and why not use the descriptor “Muslims in Canada”? This thesis examines the novel concept of locale specific grassroots Canadian Muslim identity of second and 1.5 generation Muslims in the prairie city of Winnipeg, Manitoba. The project focuses on a generation of Muslims that are settled, embedded, and active in a medium sized Canadian metropolis. Locale plays a powerful part in the way people navigate identities, form attachments, find belonging, and negotiate communities and society. In order to explore this unique identity a case study was conducted in Winnipeg. Interviews with 1.5 and second generation Muslims explored the experience of grassroots Canadian Muslim identity. The project does not focus on religious doxy or praxis but rather tries to understand a lived Canadian Muslim identity by exploring discourse and space as well as strategies, social perceptions and expectations. Participant observation, community resources and literature also aid in the understanding of the grassroots Canadian Muslim experience. This study found that the attachments, networks, and experiences in the locale give room for an embedded Canadian Muslim experience and more negotiable identities than most studies on Muslims in Canada describe. These individuals are not foreigners living in Canada. Their worldviews develop out of this particular and embedded grassroots experience. They navigate a new kind of hybrid Canadian Muslim identity that is unique and flexible. This is the Canadian Muslim experience of 2nd and 1.5 generation Winnipeg Muslims.

This study analyzes the music departments of Kansas public community colleges (1) to ascertain whether those responsible for music curricula agree that general education is a priority, and (2) to evaluate how well Kansas community college music departments meet the needs of general education music students compared to the guidelines for general music education established by the National Association of Schools of Music and The College Music Society. The study addresses the broad issues related to music in general education: (1) academic music courses, (2) faculty assigned to teach these courses, and (3) performance opportunities for students other than music majors.This study presents data compiled from surveys mailed to community college music department spokespersons at each of the nineteen community colleges in the State of Kansas. Potential respondents were selected from the full-time music faculty list provided by the Kansas Association of Community Colleges. For purposes of this study, general education music courses are defined as academic courses, performing ensembles, and private study designed for students not majoring or minoring in music. Sixteen colleges responded, resulting in an eighty-four percent response rate.Kansas community college music department respondents prioritized music curricula functions as: (1) transfer of music majors/minors to four-year schools; (2) general education opportunities; (3) community service; (4) vocational training; and (5) remedial education. Although only three community colleges in Kansas report belonging to the National Association of Schools of Music, and in spite of the fact that a majority of institutions give highest priority to the major/minor transfer student, the state's community colleges' music curricula offered to the general-education student compare favorably to both NASM and CMS standards.
School of Music

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This Master Dissertation is linked to the Research Line: Regional History , of Post-Graduation Program in History of the Paraíba Federal University, which has Historical Culture and History as its Area of Concentration. Our research have as objective to analyze above all, the use of the political censorship on protest music during the called shot years of the military dictatorship in Brazil. With this intent we have focused mainly on the judgments elaborated by the censors themselves, between 1969 and 1974, during the censure practice, to justify the vetos on the protest songs, censureds for having political protests opposite the political regime in vigour, established in Brazil by the militaries with the stroke of 1964. Therefore, we have tried to demonstrate that, besides the moral censorship which held in the country during the military dictatorship and that had been applied since the mid 40 s, also during that military regime themselves, there was a political censorship on the Brazilian popular music, wich acted with more vigour during the shot years and mainly on the protest music, which directioned more its contestations for the political situation in Brazil at that moment. Besides, no refuse wich happened in that period themselves a moral censorship on the popular music made in Brazil. Though, we have tried to show too that there was, at certain moments, an interconnection between the political and moral motivations for the censorship of determinates songs.
Esta Dissertação de Mestrado está vinculada à Linha de Pesquisa: História Regional , do Programa de Pós-Graduação em História da Universidade Federal da Paraíba, o qual tem como Área de Concentração: História e Cultura Histórica . Nossa pesquisa teve como objetivo analisar, sobretudo, o uso da censura política sobre a música de protesto durante os chamados anos de chumbo (1969-1974) da ditadura militar no Brasil. Com esse intuito nos detemos mais sobre os pareceres elaborados pelos próprios censores entre 1969 e 1974, quando da prática censória, para justificarem os vetos sobre as canções de protesto, censuradas por conterem protestos políticos contra o regime político vigente implantado no Brasil pelos militares com o golpe de 1964. Portanto, procuramos demonstrar que, além da censura moral que vigorava no país durante a ditadura militar, e que já vinha desde meados da década de 1940, também ocorreu, durante esse mesmo regime militar, uma censura política sobre a música popular brasileira, a qual atuou com mais vigor durante os anos de chumbo e principalmente sobre a música de protesto, que direcionava mais suas contestações para a situação política do Brasil naquele momento. Além disso, não negamos que tenha ocorrido nesse mesmo período uma censura moral sobre a música popular produzida no Brasil. Não obstante, também procuramos mostrar que havia, em certos momentos, uma interconexão entre as motivações políticas e morais para a censura de determinadas canções.

Cette recherche aborde la scène politique de deux pays d’Afrique de l’Est (Éthiopie-Kenya) en s’appuyant sur une analyse des enjeux politiques inhérents à la mise en place d’institutions mémorielles telles que les musées, les mausolées et autres lieux de mémoires. Notre thèse est que ces musées sont à comprendre avant tout comme des espaces intermédiaires de négociation entre les groupes qui les portent, l’État qui les finance ou les autorise, et les organisations internationales qui soutiennent et influencent les projets patrimoniaux des gouvernements. Cette recherche se concentre ainsi sur deux études de cas : le musée Konso en Éthiopie et le musée-mausolée de Koitalel Samoei au Kenya. Ces institutions s’inscrivent dans des contextes politiques particuliers au début des années 2000, à savoir l’application effective du pluralisme politique au Kenya et le renforcement de l’autoritarisme en Éthiopie. Au Kenya, la négociation autour de l’interprétation du passé en termes politiques se fait au sein même du musée-mausolée dédié au héros Koitalel Samoei, tandis que le cas éthiopien souligne plutôt que les rapports de pouvoir sont restructurés ou réorganisés par la présence d’un premier musée ethnographique en région, le musée Konso.L’apparition de musées communautaires témoigne, au Kenya comme en Éthiopie, d’un retour de l’identité ethnique en politique, qui est à la fois brandie comme une bannière par les gouvernements, mais également utilisée comme une catégorie opératoire ou une ressource par des acteurs particuliers, qu’on appellera ici des « entrepreneurs de patrimoine ». Par l’usage d’un nouveau capital, le patrimoine et sa préservation, ces « entrepreneurs de patrimoine » s’imposent ainsi à la fois comme des « entrepreneurs de soi » au sens de Michel Foucault, mais également comme des « entrepreneurs du nous » en politique, occupant une position graduelle dans les négociations et les prises de décisions publiques. Dès lors, il faut décentrer le regard pour s’intéresser à ce que le musée fait au politique, et non plus seulement à ce que la politique fait des musées.En incluant également l’analyse des usages politiques de la mémoire étatiques et internationaux, ce travail cherche à renverser la perspective en adoptant une entrée microsociologique et ethnographique en science politique, étudiant les déterminants et les modalités de la reconstruction nationale du point de vue des musées communautaires. Cette approche « par le bas », articulée aux niveaux d’analyse macro (État, idéologie, cadre institutionnel) et micro (les institutions et acteurs du patrimoine, les élites politiques locales) invite ainsi à une réflexion plus générale sur la construction, la qualification et les perceptions des régimes politiques, entamant une réflexion sur la nature de l’État qui se dévoile à travers ces nouvelles politiques mémorielles et patrimoniales, ainsi que sur le rôle joué par ces nouveaux « entrepreneurs de patrimoine » dans la reconfiguration de la compétition politique
This dissertation aims at understanding the political scene in two East African countries – Ethiopia and Kenya – by analysing the political dynamics surrounding the creation of memorial institutions such as museums, mausoleums and other memory spaces. I argue that these institutions must be first and foremost understood as intermediary spaces of negotiation between groups that are supporting them; the State that is financing and / or authorising them; as well as international organisations that are assisting and influencing the countries’ patrimonial policies. The two case studies of this research - the Konso Museum in Ethiopia and the museum-mausoleum of Koitalel Samoei in Kenya – are institutions that relate to specific political context: in Kenya, where political pluralism has been effectively accepted in the 2000s, the negotiation surrounding the political interpretation of the past takes place within the mausoleum-museum. In Ethiopia, where authoritarianism has been reinvigorated, local power relations are structured and reorganised by the presence of the South region’s first ethnographic museum.Both in Kenya and Ethiopia, the contemporary emergence of community museums illustrates the growing salience of ethnic identities in the political sphere – used as a resource and category of action both by the State and “patrimonial entrepreneurs”. By using a new kind of capital – heritage and its conservation – the latter strengthen their position both as “self entrepreneurs” (in the sense of Michel Foucault) and “we-entrepreneurs”, occupying an intermediary position in negotiations and public decision-making. Thus, we must look not only at what politics do to museums but also how museums do impact on political dynamics.In my research, through the study of community museums, I analyse the political uses of State and international memories, thus aiming at understanding the determinants and modalities of nation (re)building. I have adopted a microsociological and ethnographic approach within the framework political science. This “bottom-up” approach, articulated with macro levels of analysis (the State, ideologies and institutions) as well as micro levels (institutions and actors of heritage, local political elite) leads my argumentation to a larger debate on construction, qualification and perceptions of political regimes, the nature of the State as well as the role played by these new “patrimonial entrepreneurs” in the reconfiguration of political competition

This dissertation explores two inter-related questions: a) how US born Muslim Americans (converts, second generation and African American individuals) negotiate national and transnational belonging in the post- 9/11 context and b) how competing discursive practices around the concept of umma (transnational Muslim community) influence the way in which American Muslims negotiate an American-Muslim identity. The research presented in the dissertation is based on in-depth interviews and ethnographic fieldwork conducted in six ethno-racially and socio-economically diverse American Muslim communities in Boston and San Francisco Bay Area, including mosque communities, educational institutions and third-space organizations. By contrast to work focused on organized political movements, the interviews in this research focused on the way in which ordinary American Muslims give meaning to their identity as Muslims through everyday discursive practices and quotidian understandings of community, belonging, and identity. The 22 months-long data collection reveals that rather than primarily through saliently foreign policy related or “ideological” considerations, American Muslims negotiate transnational and national belonging through i) simultaneous considerations of inclusion and exclusion in the wider American religious landscape, ii) citizenship practices that respond to voices that seek to marginalize American Muslims, and iii) through the medium of cultural belonging and identity. The discourse analysis and ethnographic fieldwork suggests that American Muslims primarily utilize cultural notions of belonging an identity rather than political considerations relating to national or international developments in giving meaning to their dual identity. The dissertation also notes some differences across and within research sites in Boston, San Francisco Bay Area and Los Angeles. American Muslims imagine themselves a particular micro-community with particular needs, priorities, and cultural outlook that is different from other Muslim populations, in both Muslim majority and minority contexts. On the other hand a hybrid set of factors, not simple political considerations, shape American Muslims’ understanding of transnational Muslim identity. This is also reflected in their internal debates about questions of inclusion and exclusion (gender- based or racial), and whether unity requires uniformity regarding contentious domestic and international developments.
2018-02-01T00:00:00Z

The context for this study is a community based organization known as the National Youth Development Outreach (YDO) in Eersterust, Pretoria. This organization caters primarily for adolescents who are in conflict with the law who have been referred to YDO by the courts. YDO offers what is known as the Adolescent Development Programme as a means of social rehabilitation. This programme is based on what is known as the Circle of Courage which has its origins in the Native American approach to child rearing. This Circle of Courage has four components, namely, Belonging, Mastery, Independence and Generosity. Music therapy was introduced at the National Youth development Outreach in January 2003. My interest in the work of music therapy within this context gave rise to this dissertation. My aim in this study is to explore how music therapy can contribute to the Adolescent Development Programme and, in particular, how the Circle of Courage can inform the goals and practice of music therapy. In addition I wish to explore how music therapy practice needs to adapt in order to be relevant within such a context. The study is conducted within the qualitative research paradigm and thus seeks not to prove one single truth. This explorative study is conducted in a naturalistic setting. Data collection is in the form of a semi structured interview with 3 personnel members from the organization, clinical session notes and video recorded excerpts from two music therapy sessions. The clinical session notes form the basis of a description of the music therapy process at YDO from January to June 2003 and work with an individual client. These descriptions serve to contextualize the semi structured interview and video excerpts. The data are coded categorized and organized into themes. These themes highlight the social context in which YDO is situated which includes the individual, the organization and the community. The data highlights the primacy of the Circle of Courage within this specific context. Music as a tool for communication as well as a barometer of relationship is also discussed. This forms the basis for addressing the two research questions. This discussion focuses on the role of the Circle of Courage in informing the goals of music therapy through considering this at a conceptual level as well as viewing clinical improvisation through the lens of the Circle of Courage. The response to the second research question is from the premise of community therapy and considers the possibility of a wider application of music therapy in such a context. Music therapy is in its infancy in South Africa, especially with this client group. I am unaware of any published literature of music therapy work with adolescents in conflict with the law. Whilst this study has focused on a very small part of the whole, my hope is that it will stimulate further thinking and research about music therapy with this client group and will contribute to a broader body of knowledge.
Dissertation (MMus (Music Therapy))--University of Pretoria, 2006.
Music
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Over the past few decades Classical music, as an established art form, has increasingly struggled world wide as a sustainable industry. The music preferences of the general public have been moving away from the traditional symphonic concerts, and both public and private sponsorships have been diminishing. In South Africa, orchestras moved from fully government subsidised organizations to self-sustaining companies after closure of almost all orchestras in 2000 due to new political leadership and cultural funding redirections. The South African government’s policy on Art and Culture has been completely restructured in the view of the post-apartheid government’s new priorities. The creation of a National Arts Council saw the end of separate provincial art councils and centralized the distribution of private funds. The annual ring-fenced funding for the three orchestras in three different provinces was eventually established. The Department of Arts and Culture realized that funding of all cultural institutions in the country cannot be achieved by government alone and therefore created various companies and trusts, such as National Lottery, to generate additional funding. The private sector is also being encouraged by the ministry to provide assistance and collaborate in supporting of arts and culture. The three full-time orchestras - two established post 2000 - that have persevered in the new conditions and are functioning to this day are KwaZulu-Natal Philharmonic Orchestra, Cape Philharmonic Orchestra and Johannesburg Philharmonic Orchestra. All three had to adapt to new work loads and undergo a difficult transformation into money-earning business way of conducting their day-to-day operations. New concepts for the running of an orchestra, such as budgeting, advertising, planning, audience creation, outreach education, management reconstruction and fund raising, were slowly taken up and old mentalities associated with how orchestras were previously ran were finally discarded. This dissertation describes the status quo and traces the history of South Africa’s orchestras over the past fifteen years.
Dissertation (MMus)--University of Pretoria, 2010.
Music
unrestricted