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Presents a study of two Zulu women, storytellers, one who performed stories in 1868, the other in 1972. These two African women, whose stories, in their similarities and variations, provide insights into the nature of stories and the evolving of stories from one generation to the next.
The riveting life story of a South African woman who marries into the Zulu royal family, and after enduring psychological and physical abuses, finds the courage to leave.
"Storytelling in World Cinemas, Vol. 2: Contexts addresses the questions of what and why particular stories are told in films around the world, both in terms of the forms of storytelling used, and of the political, religious, historical, and social contexts informing cinematic storytelling. Drawing on films from all five continents, the book approaches storytelling from a cultural/historical multidisciplinary perspective, focusing on the influence of cultural politics, postcolonialism, women's social and cultural positions, and religious contexts on film stories."-Publisher website.
The oral and written traditions of the Africans of South Africa have provided an understanding of their past and the way the past relates to the present. These traditions continue to shape the past by the present, and vice versa. From the time colonial forces first came to the region in 1487, oral and written traditions have been a bulwark against what became 350 years of colonial rule, characterized by the racist policies of apartheid. The Uncoiling Python: South African Storytellers and Resistance is the first in-depth study of how Africans used oral traditions as a means of survival against European domination. Africans resisted colonial rule from the beginning. They participated in open insurrections and other subversive activities in order to withstand the daily humiliations of colonial rule. Perhaps the most effective and least apparent expression of subversion was through indigenous storytelling and poetic traditions. Harold Scheub has collected the stories and poetry of the Xhosa, Zulu, Swati, and Ndebele peoples to present a fascinating analysis of how the apparently harmless tellers of tales and creators of poetry acted as front-line soldiers.
The Tapestry of Culture: An Introduction to Cultural Anthropology provides students and the interested public with a concise picture of the field of cultural anthropology today. From the first edition of Tapestry of Culture published in the early 1980s until now, anthropology has changed greatly, responding to scholarly and political influences as well as changing generations; the ninth edition reflects this ongoing transformation. The influence of postmodernism has generated new debates over theory and practice in anthropology. The content of Tapestry explains these debates, as well as what is still generally accepted and agreed upon by most anthropologists. This edition provides the instructor, student and lay public with the information necessary to enable them to critically read the literature of anthropology, more specifically ethnographic texts which are still the heart of this field. The approach of the book is to accommodate the various points of view in anthropology today. It shows how the concepts, ideas and behavior of other cultures are translated into our culture's terms. Though today many emphasize each culture's uniqueness, the presence of cultural similarities is compelling. Using a comparative approach, The Tapestry of Culture reveals cultural similarities, as well as the cultural differences.
For more than three decades, Kathleen Cash has lived and worked with impoverished people, learning about their lives. Listening to them talk about their feelings of shame, Cash heard how people suffered from being unable to change what was happening to them--HIV infection, sexual and domestic violence, violence toward children, and environmental degradation. She saw that many interventions lacked emotional and cultural integrity and thus did little to alleviate these hardships. So Cash went outside the conventional approaches to health promotion and social justice and devised a community narrative practice, a strategy for engaging people through storytelling. From numerous ethnographic interviews, she pieced together cultural stories in a way that resonated with community people and revealed the paradoxes in their suffering. Cash recruited local artists to illustrate the stories in a form resembling a graphic novel and distributed these booklets for community discussion. (This book includes excerpts from these illustrated stories.) In Thailand, Bangladesh, Haiti, Uganda, and the United States, people learned to talk about forbidden subjects and say what they could never say before. They stood up to each other, reconciled, and made health-seeking decisions. By helping others, they repaired themselves. In cathartic conversations they acknowledged shame, which led to acts of courage and generosity.
This book provides students, instructors, and lay-readers with a cross-cultural understanding of storytelling as an art form that has existed for centuries, from the first spoken and sung stories to those that are drawn and performed today. This book serves as an indispensable resource for students and scholars interested in storytelling and in multicultural approaches to the arts. By taking an evolutionary approach, this book begins with a discussion of origin stories and continues through history to stories of the 21st century. The text not only engages the stories themselves, it also explains how individuals from all disciplines, from doctors and lawyers to priests and journalists, use stories to focus their readers' and listeners' attention and influence them. This text addresses stories and storytelling across both time (thousands of years) and geography, including in-depth descriptions of storytelling practices occurring in more than 40 different cultures around the world. Part I consists of thematic essays, exploring such topics as the history of storytelling, common elements across cultures, different media, lessons stories teach us, and storytelling today. Part II looks at more than 40 different cultures, with entries following the same outline: Overview, Storytellers: Who Tell the Stories, and When, Creation Mythologies, Teaching Tales and Values, and Cultural Preservation. Several tales/tale excerpts accompany each entry.
In a gathering of griot traditions fusing storytelling, cultural history, and social and literary criticism, Put Your Hands on Your Hips and Act Like a Woman “re-members” and represents how women of the African diaspora have drawn on ancient traditions to record memory, history, and experience in performance. These women’s songs and dances provide us with a wealth of polyphonic text that records their reflections on identity, imagination, and agency, providing a collective performed autobiography that complements the small body of pre-twentieth-century African and African American women’s writing. Gale P. Jackson engages with a range of vibrant traditions to provide windows into multiple discourses as well as “new” and old paradigms for locating the history, philosophy, pedagogy, and theory embedded in a lineage of African diaspora performance and to articulate and address the postcolonial fragmentation of humanist thinking. In lyrically interdisciplinary movement, across herstories, geographies, and genres, cultural continuities, improvisation, and transformative action, Put Your Hands on Your Hips and Act Like a Woman offers a fresh perspective on familiar material and an expansion of our sources, reading, and vision of African diaspora, African American, and American literatures.
The Story of the Negro is a history of Americans of African descent before and after slavery. Originally produced in two volumes, and published here for the first time in one paperback volume, the first part covers Africa and the history of slavery in the United States while the second part carries the history from the Civil War to the first part of the twentieth century. Booker T. Washington was born into slavery, worked menial jobs in order to acquire an education, and became the most important voice of African American interests beginning in the latter part of the nineteenth century. The Story of the Negro is valuable in part because it is full of significant information taken from hundreds of obscure sources that would be nearly impossible to assemble today. For instance, Washington discusses the rise of African American comedy with names, places, and dates; elsewhere he traces the growth and spread of African American home ownership and independent businesses in the United States; and his discussion of slavery is informed by his own life. Washington wanted African Americans to understand and embrace their heritage, not be ashamed of it. He explains, as an example, the role of music in the lives of the slaves and then notes how, nearly a generation later, many African Americans were "embarrassed" by this music and did not want to learn traditional songs. Washington is able to reflect on the first fifty years of his life embracing a range of experiences from share-cropping to dinner at the White House. It is just this autobiographical element that makes the volume compelling. Washington, with his indefatigable optimism, worked his entire life to achieve equality for African Americans through practical means. Founder of the first business association (the National Negro Business League), leader of the Tuskeegee Institute, where George Washington Carver conducted research, and supporter of numerous social programs designed to improve the welfare of African Americans, Washington was considered during his lifetime the spokesperson for African Americans by white society, particularly those in positions of power. This led to criticism from within the African American community, most notably from W. E. B. Du Bois, who considered Washington too accommodating of the white majority, but it took Washington's farsightedness to recognize that the immediate concerns of education, employment, and self-reflection were necessary to achieve the ultimate goal of racial equality.
Winner of IASPM Book Prize, given by IASPM, 2023 This book is an ethnographic study of sound archives and the processes of creative decolonization that form alternative modes of archiving and curating in the 21st century. It explores the histories and afterlives of sound collections and practices at the International Library of African Music. Sound Fragments follows what happens when a colonial sound archive is repurposed and reimagined by local artists in post-apartheid South Africa. The narrative speaks to larger issues in sound studies, curatorial practices, and the reciprocity and ethics of listening to and reclaiming culture. Sound Fragments interrogates how Xhosa arts activism contributes to an expanding notion of what a sound or cultural archive could be, and where it may resonate now and in future.