Freshwater fisheries are an essential component of African fisheries, providing one-third of the total catch. This study focuses on the fishing of a small clupeid, Limnothrissa miodon, locally called kapenta, in Lake Kariba. Lake Kariba is shared by Zimbabwe and Zambia, and this study provides a chronology of the commercial kapenta fishing practices used in both countries. It examines how the current fishing methods have become popular among both white and black operators, from environmental and social perspectives. Unlike traditional and artisanal inland fisheries, which have a variety of fishing methods, only one fishing practice is employed in Lake Kariba. This is an artefact of the environmental characteristics of the man-made lake, political situations (settler colonialism and historical inequality between white and black populations), and socialist policies adopted by the Zimbabwean government. A modern fishing method invented by the white settlers has been widely accepted by the new black entrants to fishing and has spread throughout the lake.
The order of postverbal arguments and their realization as object markers have been shown to be some of the properties that evince variation in Bantu languages (cf. Marten et al., 2007). In Rutooro (JE12, Uganda), two different constraints may be said to govern the above syntactic phenomena, i.e. a morphological one for the former and a semantic one for the latter. With respect to the former, a distinction is made between monomorphemic and multimorphemic verbs as determining factors for the permutability of postverbal arguments, with multimorphemic verbs seen as allowing permutation, while monomorphemic verbs quintessentially preclude it. On the other hand, the order of object markers is variable in Rutooro, as opposed to languages such as Kihaya and Chichewa (Marten et al., 2007). In Rutooro, the order is typically contingent on whether the goal/beneficiary argument is [±human]: when the goal/beneficiary is [+human], it must be
closer to the verb root, while when it is [–human], either it is flexible, as is the case for Kinyarwanda (cf. Zeller & Ngoboka, 2015) or it should exclusively be placed further from the verb root (for some speakers).
Climate change responses require a multidimensional approach given the context-specific knowledge of climate change education. Hence, this study investigates the rhetorical style of propagating climate change education in a non-formal setting – a typical agrarian Nigerian community – as enacted in Greg Mbajiorgu’s play, Wake up Everyone. It adopts Olinger’s (2016) socio-cultural approach to style to unpack nuances of social meanings which are negotiated in the process of enhancing the people’s perception and learning of climate change issues in the symbolic rural environment. Four representative extracts which comprise three conversational exchanges among the characters, and the theme song of the environmental activist’s Green Theatre outfit’s play-within-a-play, The New Dawn, were purposively selected to reflect the following issues: improving education and awareness, building human and institutional capacity on climate change, devising adaptation and mitigation strategies to reduce climate change impact, and giving early warning to forestall environmental disasters. The study reveals that the rhetorical strategies and semiotic resources in the dramatic text essentially localise and also demystify the complex science of climate change with the imaginative design of tactical non-formal adult education strategies to appeal to the environmental and cultural sensibilities of the extremely vulnerable local community.