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Burundi traditionally had two official languages: Kirundi and French. English became the third official language of the country in 2014. Of these, only Kirundi is spoken by the vast majority of the population. It is recognised as the national language by the Burundian constitution of 2005. [1]
République du Congo Repubilika ya Kôngo Republíki ya Kongó: Brazzaville Balazavile Brazzaville: French Kongo Lingala: Democratic Republic of the Congo: Kinshasa: République démocratique du Congo Republíki ya Kongó Demokratíki Repubilika ya Kôngo ya Dimokalasi Jamhuri ya Kidemokrasia ya Kongo: Kinshasa Kinsasa Kinsásá Kinshasa ...
Burundi, [b] officially the Republic of Burundi, [c] is a landlocked country in East Africa. It is located in the Great Rift Valley at the junction between the African Great Lakes region and Southeast Africa, with a population of over 14 million people. [ 14 ]
A simplified diagram of Canadian raising (Rogers 2000:124).Actual starting points vary. Canadian raising (also sometimes known as English diphthong raising [1]) is an allophonic rule of phonology in many varieties of North American English that changes the pronunciation of diphthongs with open-vowel starting points.
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Kirundi, also known as Rundi, is a Bantu language and the national language of Burundi.It is a dialect of Rwanda-Rundi dialect continuum that is also spoken in Rwanda and adjacent parts of Tanzania (in regions close to Kigoma), the Democratic Republic of the Congo, Uganda, as well as in Kenya.
In languages of mixed ethnicities, the language of the mother usually provides the grammatical system, while the language of the father provides the lexicon. [5] The reasons are as follows: children tend to know their mother's language better; [dubious – discuss] in the case of the Métis, the men were often immigrants, whereas the women were native to the region. [6]
Formally, akazehe is characterized in its lyrics by such stylistic devices as allusion, metaphor, alliteration, and metonymy. [2]The lyrical contents of the chant can include expressions of complicity and affection, affirmations of the two performers' relative roles (e.g. Hello, hello my daughter; Yes, yes, yes my dear [4]), exchanged news, advice, and personal stories about female domestic ...