Journal of African Studies
Online ISSN : 1884-5533
Print ISSN : 0065-4140
ISSN-L : 0065-4140
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Volume 2016, Issue 89
Displaying 1-17 of 17 articles from this issue
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Articles
  • The Classification and Enslavement of Unbelievers in Early Nineteenth-Century West Africa:
    An Analysis of ‘Uthmān bn Fūdī's Works
    Kota KARIYA
    Article type: Articles
    2016 Volume 2016 Issue 89 Pages 1-13
    Published: May 31, 2016
    Released on J-STAGE: May 31, 2017
    DOIhttps://doi.org/10.11619/africa.2016.89_1
    JOURNAL FREE ACCESS
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    At the beginning of the nineteenth century, a large-scale jihad was launched by the Muslim intellectual ‘Uthmān bn Fūdī (d. 1817) in Hausaland, present-day northern Nigeria. This jihad swiftly overwhelmed the Hausa kingdoms from 1804 to 1808, and led to the formation of a state commonly known as the Sokoto Caliphate. This state adopted Islam as one of its governing principles. During the jihad, and in the process of state-building, ‘Uthmān bn Fūdī divided the people living in Hausaland or Sūdān according to their beliefs, and proposed regulations for the capture and enslavement of “unbelievers.” I focus on these classifications and regulations, examining the introduction, after around 1808, of the “thought of tolerance” that permitted the views of less authoritative scholars, and the manipulation of regulations for the treatment of those classified as unbelievers. I discuss how the application of the “thought of tolerance” and the manipulation of regulations expanded the category of unbelievers who could be lawfully captured and enslaved. I also propose reasons for this change in his thoughts.
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  • Popularization of the Youth Culture Karioki in Kampala, Uganda:
    Its Spread from Schools to Bars and Restaurants
    Midori DAIMON
    Article type: Articles
    2016 Volume 2016 Issue 89 Pages 15-27
    Published: May 31, 2016
    Released on J-STAGE: May 31, 2017
    DOIhttps://doi.org/10.11619/africa.2016.89_15
    JOURNAL FREE ACCESS
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    From the early 21st century, the karioki entertainment has flourished in Kampala, the capital city of Uganda. Karioki is a dance-show performed by youth on the stages of restaurants and bars at night, accompanied by a variety of musical genres. Originally, karioki used to be played as a mere amusement by university students in Kampala who were fascinated by American popular music. A few years later, it was transformed into a popular entertainment enjoyed by a wider audience. This article explores the development process of karioki from a minor youth culture to a popular entertainment, by analysing its changing social backgrounds. Firstly, I examine contents, venues and audiences of karioki, along with social conditions in the 1990s which contributed to the birth and development of karioki. Second, I elaborate on the process of enriching karioki performance styles, by introducing a number of genres other than American popular music. I argue that, when the youth shifted the performance venue from schools to bars and/or restaurants, karioki was established as a business, attracting a wide variety of youth as professional performers. Lastly, I examine changes in the information technologies which provided a physical basis for the development of karioki performance.
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Note
  • Kazimoto as an “Unreliable Narrator” in a Contemporary Swahili Novel Kichwamaji
    Fuko ONODA
    Article type: Note
    2016 Volume 2016 Issue 89 Pages 29-35
    Published: May 31, 2016
    Released on J-STAGE: May 31, 2017
    DOIhttps://doi.org/10.11619/africa.2016.89_29
    JOURNAL FREE ACCESS
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    This study deals with the novel written by one of the most prominent Tanzanian Swahili authors Euphrase Kezilahabi. His second novel Kichwamaji has an experimental style of ending. Kazimoto, who is the protagonist as well as the narrator of the novel, kills himself at the last chapter. After his death, a new unknown narrator suddenly appears to show how the press reports his death. At the very last, one poem is set without any explanation. Such multiplicity of narrations in a first-person novel inevitably relativizes the authority of first-person narrator. Therefore this ending possibly induces readers to reevaluate the reliance on Kazimoto's narration.
    Reevaluation of his narration reveals that his self-reference contradicts his and other's behavior. He describes himself as an elite alienated from his native village. However in reality, he actively participates in village events and maintains close human relations with villagers, and they also regard Kazimoto as a member of their village.
    In this study, Kazimoto is considered as an “unreliable narrator”, who incorrectly narrates the image of himself and his surroundings by creating a misbelief. This term, used in modern literary theory, will explain the novel's narrative style, and contribute to a better understanding of the author Kezilahabi, who is said to be the pioneer of Swahili experimental novel.
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