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In a trio form each section is a dance movement in binary form (two sub-sections which are each repeated) and a contrasting trio movement also in binary form with repeats. An example is the minuet and trio from Haydn's Surprise Symphony. The minuet consists of one section (1A) which is repeated and a second section (1B) which is also repeated.
African poetry encompasses a wide variety of traditions arising from Africa's 55 countries and from evolving trends within different literary genres.The field is complex, primarily because of Africa's original linguistic and cultural diversity and partly because of the effects of slavery and colonisation, the believe in religion and social life which resulted in English, Portuguese and French ...
Poetry groups and movements or schools may be self-identified by the poets that form them or defined by critics who see unifying characteristics of a body of work by more than one poet. To be a 'school' a group of poets must share a common style or a common ethos.
Taarab music is a fusion of Swahili poetry sung in rhythmic poetic style, performed by male or female singers and taarab ensembles comprising numerous musicians. Taarab forms a part of the social life of the Swahili people along the coastal areas, especially in Zanzibar, Tanga and even further in Mombasa and Malindi along the Kenya coast. [ 4 ]
Because of the variety of performance modes, oríkì defies classification as music or poetry, and it has been studied from both perspectives. Historically, oríkì was delivered by a specialist in a particular vocal style. [4] For example, ìjálá is acoustically open and intense, while ewì is spoken in a high-falsetto, wailing voice quality.
In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. [1]
Poets of this relatively stable transition period in South African history also include more irreverent voices such as Lesego Rampolokeng, Sandile Dikeni and Lefifi Tladi, founder of the Dashiki performance poetry movement in the late 1960s. Another prevalent theme of post-apartheid poetry is the focus on nation-building, with many poets and ...
Music and poetry were more accessible to a large number of South Africans than written material (partly due to the restrictions placed by apartheid). [77] Music, poetry, and storytelling also formed part of the everyday life of a number of South Africans, and protest songs emerged from these traditions. [6]