54 research outputs found
Nigerian Art Music
No full textART MUSIC IN NIGERIA is the most comprehensive book on the works of modem Nigerian composers who have been influenced by European classical music. Relying on over 500 scores, archival materials and interviews with many Nigerian composers, the author traces the historical developments of this new idiom in Nigeria and provides a critical and detailed analysis of certain works. Written in a refreshing and lucid style and amply illustrated with music examples, the book represents a milestone in musicological research in Nigeria. Although written essentially for students and scholars of African music, this interesting book will also be enjoyed by the général reader.IFRA The French Institute for Research in Africa / Institut Français de Recherche en Afrique (IFRA) is a French government sponsored institute whose programmes are geared towards the promotion of research in social sciences and humanities in English-speaking Africa. It was first established in 1980 in Nairobi, Kenya, before a branch was opened in Harare, Zimbabwe, in 1986. IFRA Ibadan, which is located within the Institute of African Studies of the University of Ibadan in Nigeria, was set up in 1990. IFRA's mandate includes subsidizing research programmes, granting research allowances to academics and scholars, publishing research results, holding workshops and symposia etc. It also includes facilitating university exchanges between scholars in France and Africa. Over the past few years, IFRA Ibadan's most salient programmes have revolved around problems of démocratie transition and urban sociology, especially urban violence in Africa. However, a large sample of disciplines has also been represented, ranging from history to musicology, économies, linguistics, etc. The institute also runs a library and publishes a Newsletter. IFRA Ibadan Institute of African Studies, University of Ibadan U.I. P.O. Box 21540, Ibadan, Oyo State, Nigeria Tel/Fax (234) 02 810 4077 This book is dedicated to the memory of a committed dramatist, Prof essor (Mrs.) Zulu Sofola (1935-1995), who until her death, was the Head of the Department of the Performing Arts, University of llorin, Nigeria. Zulu was a teacher, a mother and a great source of inspiration to everyone who had the priviiege to work with her
About the author
No full textIheanyi M. Enwerem, o.P., who was ordained a Catholic priest on July 8, 1978, is a member of the well known Catholic religious order, the Order of Preachers (Dominicans). He holds a B.A. (Hons) degree in Philosophy (University of Leuven, Belgium), M.A. in Theology (University of Toronto, Canada), and M.A. and Ph.D. in Social and Political Thought (York University, Toronto, Canada). After teaching in the Division of Social Science in his alma mater, York University, and in the Department of Hi..
La parole ‘hors-plateau’ comme source : Réflexion sur l’usage d’une retranscription de table-ronde dans le cadre d’une recherche sur le théâtre au Rwanda: Suivi de Théâtre, mémoire et réparation au Rwanda (table-ronde)
No full textInternational audienceBased on the transcript of a roundtable discussion on “Theater, memory and reparation in Rwanda” co-moderated by the author in Kenya (IFRA-Nairobi) in January 2019, this article expands on the use of such a document for research on theater and performing arts in Rwanda since the genocide. The round table brought together Carole Karemera, director and director of Ishyo Arts Center in Kigali; Assumpta Mugiraneza, psycho-sociologist, co-founder and director of Iriba, center for multimedia heritage in Kigali and Ariane Zaytzeff, PhD in theatre studies, author of a thesis on theater in Rwanda after the genocide and former coordinator of the Kigali-based Amizero dance company and of the East African Nights of Tolerance festival. Both the analysis of the performances of Rwanda’s leading women theater artists (Carole Karemera, Hope Azeda, Odile Gakire Katese) and other performances about the genocide highlight the importance of stories and testimonies about the genocide being brought to the stage. These forms seem to be the most likely to express the need to speak out in a society where speaking out is not always easy and even tends to give way to a polymorphous silence (with several facets and covering various motives). Indeed, reinventing a language and a specific scenic language is a crucial matter for the artists; languages which are not confused with the languages of the “New Rwanda” forged by the government who has undertaken to rebuild the country since 1994.The conversation between the three participants held during the round table raised two aspects: first, the importance of stories and testimonies and the need to speak out in a society where speaking out can be tricky. Second, ethical questions raised by the scenographic choices and aesthetic orientations of different directors (coming from Europe or Rwanda) triggered a reflection on what is stageable and for which audience(s). The needs but also the expectations and especially the limits (ethical, psychological) do not necessarily converge depending on whether one is a European spectator in Europe or a Rwandan spectator. The article concludes with the opportunity to work with specific materials such as this transcription of a public speech (since it took place during a round table), and not, as often in human and social science research, with individual interviews. Not only can this type of exchange opportunely compensate for the difficulty of access to the main informants in the case of a sensitive field such as Rwanda, but above all its public dimension and its materialization in writing can make it a useful source both for researchers in theatre studies (African, Rwandan) and for researchers working on Rwanda, and more particularly on the genocide and its aftermath.Arrimé à la retranscription d’une table-ronde sur « Théâtre, mémoire et réparation au Rwanda » co-animée par l’auteure au Kenya (IFRA-Nairobi) en février 2019, cet article propose une réflexion sur l’usage d’un tel document pour la recherche sur le théâtre et les arts de la scène au Rwanda depuis le génocide. La table ronde réunissait Carole Karemera, metteuse en scène et directrice de Ishyo Arts Center à Kigali ; Assumpta Mugiraneza, psycho-sociologue, co-fondatrice et directrice de Iriba, centre pour le patrimoine multimédia à Kigali et Ariane Zaytzeff, docteure en études théâtrales, auteure d’une thèse sur le théâtre au Rwanda après le génocide et ex-coordinatrice de la compagnie de danse Amizero basée à Kigali et du festival East African Nights of Tolerance. Tant l’analyse des spectacles des principales femmes de théâtre du Rwanda (Carole Karemera, Hope Azeda, Odile Gakire Katese) que celle d’autres spectacles sur le génocide mettent en exergue l’importance des récits et témoignages sur le génocide portés à la scène. Ces formes semblent être les plus à mêmes de dire la nécessité de porter une parole juste dans une société où la prise de parole n’est pas toujours aisée et tend même à laisser place à un silence polymorphe (à plusieurs facettes et recouvrant des motifs variés). Il s’agit en effet pour les artistes de réinventer une langue et un langage scénique spécifiques qui ne se confondent pas avec les langages du « Nouveau Rwanda » forgés par le gouvernement occupé à reconstruire le pays depuis 1994. Ressortent aussi de la conversation entre les trois intervenantes tenue pendant la table ronde les questionnements éthiques soulevés par les choix scénographiques et les orientations esthétiques des différent·e·s metteur·e·s en scène, qu’ils viennent d’Europe et du Rwanda. Ce dernier aspect nous conduit à interroger ce qui est représentable sur scène et pour quel(s) public(s), tant les besoins mais aussi les attentes et surtout les limites (éthiques, psychologiques) ne convergent pas nécessairement en fonction qu’on est un spectateur européen en Europe ou un spectateur rwandais. L’article se conclut sur l’opportunité de travailler à partir de matériaux spécifiques comme cette transcription d’une parole publique (puisque déroulée lors d’une table ronde), et non comme on le fait coutumièrement dans la recherche en sciences humaines et sociales, à partir d’entretiens individuels. Non seulement ce type d’échange peut venir opportunément pallier une difficulté d’accès aux principales informatrices dans le cas d’un terrain délicat comme le Rwanda, mais surtout sa dimension publique et son devenir matérialisé par l’écrit peuvent en faire une source utile tant pour des chercheurs en études théâtrales (africaines, rwandaises) que pour des chercheurs travaillant sur le Rwanda, et plus particulièrement le génocide et ses suites.Este artigo baseia-se na transcrição de uma mesa redonda sobre «Teatro, memória e reparação no Ruanda» co-animada pela autora no Quénia (IFRA-Nairobi), em fevereiro de 2019, e propõe uma reflexão sobre o uso desse documento na pesquisa sobre teatro e artes cénicas no Ruanda desde o genocídio. A mesa redonda reuniu Carole Karemera, encenadora e directora de Ishyo Arts Center em Kigali; Assumpta Mugiraneza, psicóloga, co-fundadora e directora de Iriba, centro para o património multimédia em Kigali e Ariane Zaytzeff, doutora em Estudos Teatrais, autora de uma tese sobre teatro no Ruanda após o genocídio e ex-coordenadora da companhia de dança Amizero baseada, em Kigali, e do festival East African Nights of Tolerance. Tanto a análise dos espectáculos realizados pelas principais mulheres de teatro do Ruanda (Carole Karemera, Hope Azeda, Odile Gakire Katese) como a de outros espectáculos sobre o genocídio, destacam a importância das histórias e testemunhos levados à cena. Estas formas parecem ser as mais adequadas para falar da necessidade de levar uma mensagem verbal justa a uma sociedade onde o uso da palavra nem sempre é fácil e tende mesmo a dar lugar a um silêncio polimórfico (multifacetado e com vários motivos). Com efeito, trata-se para os artistas de reinventar uma língua e uma linguagem cénica específicas que não se confundam com as linguagens do «Novo Ruanda» forjadas pelo governo, ocupado a reconstruir o país desde 1994.Ressaltam também da conversa entre as três intervenientes da mesa redonda os questionamentos éticos levantados pelas escolhas cenográficas e orientações estéticas das diferentes mulheres realizadoras, quer venham da Europa ou do Ruanda.Este último aspecto leva-nos a questionar o que é representável em cena e para que tipo de público, porquanto quer as necessidades quer as expectativas e sobretudo os limites (éticos, psicológicos) não convergem necessariamente, dependendo do facto de o(a) espectador(a) ser de proveniência europeia ou ruandesa.O artigo conclui com a oportunidade de se trabalhar a partir de materiais específicos, como esta transcrição de um discurso público (uma vez que foi proferido numa mesa redonda) e não, como é habitual na pesquisa em ciências humanas e sociais, a partir de entrevistas individuais. Este tipo de intercâmbio pode vir oportunamente não só colmatar as dificuldades de acesso às principais fontes de informação, num campo delicado como o Ruanda, como pode também, pela sua dimensão pública e materialização na escrita, constituir uma fonte útil tanto para investigadores em estudos teatrais (africanos, ruandeses) como para investigadores trabalhando sobre o Ruanda, particularmente sobre o genocídio e suas consequências
Nigerian Art Music
No full textART MUSIC IN NIGERIA is the most comprehensive book on the works of modem Nigerian composers who have been influenced by European classical music. Relying on over 500 scores, archival materials and interviews with many Nigerian composers, the author traces the historical developments of this new idiom in Nigeria and provides a critical and detailed analysis of certain works. Written in a refreshing and lucid style and amply illustrated with music examples, the book represents a milestone in m..
Nigerian Art Music
No full textART MUSIC IN NIGERIA is the most comprehensive book on the works of modem Nigerian composers who have been influenced by European classical music. Relying on over 500 scores, archival materials and interviews with many Nigerian composers, the author traces the historical developments of this new idiom in Nigeria and provides a critical and detailed analysis of certain works. Written in a refreshing and lucid style and amply illustrated with music examples, the book represents a milestone in m..
Foreword
No full textThis book is the first comprehensive analysis on the history of infrastructural development and urban policies in Lagos since the colonial annexation to date. I think that the author faced almost three challenges to write it. It was necessary to consider a long term analysis (one century and a half), to take into consideration the growing size of the city - the biggest in the south of the Sahara since the 1960s – and, finally, to inquire into three key infrastructural sectors: water supply, e..
Using the Binary Matrices for Modeling the Supply Chain Issues of Virtual Shops: An Evidence from Pakistan
No full textThe study aims at developing a list of supply chain issues in virtual shops and construct a hierarchal model of those supply chain issues with the purpose to prioritize them. It is also geared towards unfolding the inter-relationships of those issues. The research design entails comprehensive review of literature and qualitative analysis following the collection of primary data from panel of experts utilizing Interpretive Structural Modeling (ISM) coupled with Cross-Impact Matrix Multiplication Applied to Classification (MICMAC) as a methodology, this paper intends to probe into the supply chain issues creating bottlenecks in virtual shops’ operations. ISM is conducive to find the influential supply chain issues whereas MICMAC classifies and analyzes the supply chain issues based on their driving and dependence powers. The results of ISM point out that the supply chain issue ‘data centers affected by natural disasters’ is the most influential issue since it occupies bottom level of ISM model whereas supply chain issues ‘long lead time’ and ‘customer unavailability’ occupy top of ISM model being least critical. Results of MICMAC disclosed that issues ‘high delivery costs’, ‘long lead time’ and ‘customer unavailability’ are categorized as dependent whereas ‘network errors’ and ‘data centers affected by natural disaster’ are classified as independent. All the other issues are contained into linkage cluster while no supply chain issue is autonomous depicting that all the issues are relevant. Over the past few years, the extent of research on e-commerce logistics and supply chain has been increased. Most of the researches have been conducted to create awareness on the importance of logistics and supply chain in e-commerce industry. But the supply chain issues faced by virtual shops have not been comprehensively identified in any research till date. This study attempt to find those issues and prioritize them. The findings of the study provide understanding of most influential and most influenced supply chain issues so that the practitioners can set their priority actions. This study has contributed theoretically and possess practical implications for the stakeholders of virtual shops as well. In view of the fact that the study is conducted without financial assistance and data is collected from medium-sized panel in a field setting, the study is limited to an extent
Ethnic Minority Conflicts and Governance in Nigeria
No full textEthnic Minority Conflicts and Governance in Nigeria explores and analyses the underlying sources and salient features of recent ethnic minority conflicts in Nigeria, the largely controversial policies by which the Nigerian state has sought to contain these conflicts, and the prospects and preconditions for a more stable and equitable system of federal governance in the country. Through an insightful examination of two most recent minority conflicts in the country, the author probes the contemporary problems of ethnic minorities. He appraises the management of the conflicts by the State, and proffers appropriate policy responses for the resolution of the country's ethnic minority problems. The book is recommended to policy makers, students of history and political science, academicians and the general public
On aging properties and total time on test transforms
No full textBarlow and Campo (1975) presented the Total Time of Test (TTT-)transform as a tool for identification of failure distribution models. Since then the TTT-transform has proved to be useful also in several other connections. Recently Barlow (1979) discussed relationships between the TTT-transform and the aging properties IFR and IFRA. The author note presents some relationships between the TTT-transform and other aging properties, e.g. DMRI, HNBUE and heavy-tailedness (17 refs.)</p
Uma fonte preciosa para o estudo de uma guerrilha de direita: os Cadernos de Gorongosa da Renamo (Moçambique, 1983–1985)
No full textInternational audienceOn August 28, 1985, the headquarters of the “anti-Marxist” Mozambican guerrilla group (Resistência Nacional de Moçambique, Renamo) was stormed by Zimbabwean and Mozambican government forces. Renamo was able to evacuate the base but lost part of its archives, including what later became known as the Cadernos de Gorongosa (i.e. the Gorongosa Notebooks). The Mozambican government security services were quick to study them to prove that, despite the Nkomati Accords (1984), South Africa kept on supporting the Mozambican rebellion. The author was able to work through some of these Cadernos, consisting of thousands of handwritten messages—these were decoded transcripts of communications between the commander-in-chief and regional and local guerrilla groups. This makes it possible to study the daily life of this “right-wing guerrilla.” The article reproduces some of these messages, which are now available for consultation in Lisbon.Le 28 août 1985, le quartier général de la guérilla « anti-marxiste » mozambicaine (Resistência Nacional de Moçambique, Renamo) fut pris d’assaut par les forces zimbabwéennes et celles du gouvernement mozambicain. La Renamo avait pu évacuer la base mais y perdit une partie de ses archives, dont ce qui fut plus tard connu comme les Cadernos de Gorongosa (Cahiers de Gorongosa). Les services de sécurité du gouvernement mozambicain s’empressèrent de les étudier pour prouver que, malgré les Accords de Nkomati (1984), l’Afrique du Sud continuait à appuyer la rébellion mozambicaine.L’auteur a pu travailler dans une partie de ces Cadernos, formés de milliers de messages manuscrits – des transcriptions décodées des communications entre le commandement en chef et les groupes régionaux et locaux de la guérilla. Cela permet ainsi d’étudier la vie quotidienne de cette « guérilla de droite ». L’article reproduit quelques-uns de ces messages, qui sont aujourd’hui consultables à Lisbonne.A 28 de Agosto de 1985, o quartel-geral do grupo guerrilheiro “anti-marxista” moçambicano (Resistência Nacional de Moçambique, Renamo) foi invadido pelas forças governamentais do Zimbabué e de Moçambique. A Renamo conseguiu evacuar a base mas perdeu parte dos seus arquivos, incluindo o que mais tarde ficou conhecido como os Cadernos da Gorongosa. Os serviços de segurança do governo moçambicano foram rápidos a estudá-los para provar que apesar dos Acordos de Nkomati (1984), a África do Sul continuava a apoiar a rebelião moçambicana. O autor pôde trabalhar com alguns destes Cadernos, constituídos por milhares de mensagens manuscritas – transcrições descodificadas das comunicações entre o comandante-chefe e grupos de guerrilha regionais e locais. Isto permite estudar a vida quotidiana desta “guerrilha de direita”. O artigo reproduz algumas destas mensagens, que estão agora disponíveis para consulta em Lisboa
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