Suchergebnisse

Intro -- Translocal Connections across the Indian Ocean: Swahili Speaking Networks on the Move -- Copyright -- Contents -- Transliteration, Orthography and Acknowledgements -- Notes on Contributors -- Translocal Relations across the Indian Ocean: An Introduction -- Part 1: Translocality in the Past -- 1 Nineteenth- and Twentieth-Century Brava: A Swahili Cultural Enclave in a Somali Context -- 2 Sufism, Salafism, and the Discursive Tradition of Religious Poetry in Brava -- 3 Translocal Links and Women Slaves in Nineteenth-Century Somalia -- Part 2: Vectors (Carriers) of Translocality -- 4 Sasa, pote, majeshi yetu duniani: Swahili Poetry and the Translocal Moment of World War II -- 5 Translocality, Texts and Discourses: Ritual Transformations of Islamic Sacrifices in Tanzania -- Part 3: Reflections (Representations) of Translocal Connections -- 6 Local Ideas of Fashion and Translocal Connections: A View from Upcountry Tanganyika -- 7 Translocal Interconnections within the Swahili Spirit World: The Role of Pemba and the Comoro Islands / Madagascar -- Part 4: Experiencing Translocality: Translocality from the Bottom - Translocality in Daily Experience -- 8 Translocal Experiences and Intersecting Mobilities: Reflections on Motility and Actual and Imagined Movability in Contemporary Zanzibar -- 9 Skype, Facebook, and Chat Rooms: New Modes of Expression and Changing Gender Relations among Swahili Youth at Home and Abroad -- 10 Integration and Identity of Swahili Speakers in England: Case Study of Swahili Women -- 11 Swahili Elites and the Concept of Long-Distance Nationalism within the Diaspora -- Index

Abstract
Before the exponential diffusion of modern video broadcasting media, the history of forced migrations within Africa was mainly transmitted through the spread of individual and collective memories. Filming, instead, agglomerates memories and images by producing new overarching and often convincing interpretations of the past. This article describes how and why a documentary video on slavery in the Indian Ocean was produced and the reasons behind its narrative form. Stemming from the urge of people regarded as descendants of slaves to have their ancestral dances documented as proof of their origins, this documentary is the result of a long-range ethnographic encounter spanning time and space from the Juba River in Somalia to Malawi and the Niasa region of Mozambique. It was only audiovisual equipment like video cameras and computers that made such an amazing encounter possible.

The history of slavery in the Somali country reveals some of the social dynamics that brought women slaves to the crossroads of the intermingling of people from Cushitic groups and Bantu-speaking groups. Yet little has been written about the characteristics of slavery in Somalia at the turn of the twentieth century. This article brings together some data from a civil court register of the town of Brava and from information collected by Italian officers and administrators, in order to sketch out some of the gendered facets of slavery at the turn of the century.

Explores how memories of war violence in Somalia are reproduced & used to interpret more recent violence. Data were obtained from oral tradition sources, observations, & interviews conducted during fieldwork carried out 1985-1988 among the Bantu people of the Juba River, Zigula, & Shanbara, & visits, 1994-1998, with civil war exiles living in refugee camps. An examination of differences between men's & women's descriptions of traumatic experiences provides insights into the gendered effects of experiences of war violence. Descriptions of how women talk about being raped, & men tell of witnessing the rape of relatives, reveal changes over time, as well as tendencies to interpret present events/problems as consequences of war experiences. It is noted that memories of past violence have shaped the people's concept of war & are part of a group's social memory even when they are not articulated. While sexual violence is related in personal stories, it is underplayed in historical narratives that hide things that need not be said directly, & stress elements perceived as good to relate. 20 References. J. Lindroth