000			04950cam a2200493Ii 4500
001			BRILL9789004334328
003			nllekb
005			20260610104902.0
007			cr un uuuua
008			031114s2003 ne am sbm 001 0 eng d
020			_a9789004334328 _q(electronic book)
020			_z9789042008274 _q(print)
024	7		_a10.1163/9789004334328 _2DOI
035			_a(OCoLC)53442894
040			_aNL-LeKB _cNL-LeKB _erda
043			_af-tz---
050		4	_aML2551.T3 _bB38 2003
072		7	_aBL _2lcco
072		7	_aML _2lcco
072		7	_aHRAC _2bicssc
072		7	_aREL017000 _2bisacsh
082	0	4	_a781.7109678
100	1		_aBarz, Gregory F., _d1960-
245	1	0	_aPerforming religion : _bnegotiating past and present in Kwaya music of Tanzania / _cGregory F. Barz.
264		1	_aAmsterdam ; _aNew York, NY : _bRodopi, _c2003.
300			_a1 online resource (xvi, 225 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aChurch and theology in context ; _vno. 42
500			_aAccompanying compact disc features Kwaya ya Upendo, Azania Front Lutheran Cathedral, Dar es Salaam, Tanzania, directed by Gideon Mdegella as well as other choirs from Dar es Salaam. The CD provides illustrations that highlight many of the concepts and issues raised in the text and document the art of kwaya traditions.
504			_aIncludes bibliographical references (p. 198-205) and index.
505	0	0	_aPreliminary Material -- Introduction -- Theories, Frames, Methods, and Lenses An Ethnographic Approach to the Study of Tanzanian Kwaya Music -- East African Kwaya Music and the Colonial and Missionary Encounter -- Conflicting, Complementary, and Divergent Aesthetics of Kwaya Music -- “We Are From Different Ethnic Groups, But We Live Here As One Family” The Musical Performance of Community in an East African Kwaya -- Kwaya Music and the Performance of Spirituality and Disaffection Music and Worship in a Tanzanian Kwaya Community -- Kwayas, Kandas, Kiosks Tanzanian Popular Kwaya Music -- Social Organization and the Creation of Sacred Space within Kwaya ya Upendo -- “I Am Able To See Very Far But I Am Unable To Reach There” Ndugu Gideon Mdegella’s Nyimbo za Kwaya -- Conclusion -- References Cited -- Glossary -- Appendices -- Index.
506			_aAvailable to subscribing member institutions only.
520			_aPerforming Religion considers issues related to Tanzanian kwayas [KiSwahili, “choirs”], musical communities most often affiliated with Christian churches, and the music they make, known as nyimbo za kwaya [choir songs] or muziki wa kwaya [choir music]. The analytical approach adopted in this text focusing on the communities of kwaya is one frequently used in the fields of ethnomusicology, religious studies, culture studies, and philosophy for understanding diversified social processes-consciousness. By invoking consciousness an attempt is made to represent the ways seemingly disparate traditions coexist, thrive, and continue within contemporary kwaya performance. An East African kwaya is a community that gathers several times each week to define its spirituality musically. Members of kwayas come together to sing, to pray, to support individual members in times of need, and to both learn and pass along new and inherited faith traditions. Kwayas negotiate between multiple musical traditions or just as often they reject an inherited musical system while others may continue to engage musical repertoires from both Europe and Africa. Contemporary kwayas comfortably coexist in the urban musical soundscape of coastal Dar es Salaam along with jazz dance bands, taarab ensembles, ngoma performance groups, Hindi film music, rap, reggae, and the constant influx of recorded American and European popular musics. This ethnography calls into question terms frequently used to draw tight boundaries around the study of the arts in African expressive religious cultures. Such divisions of the arts present well-defended boundaries and borders that are not sufficient for understanding the change, adaptation, preservation, and integration that occur within a Tanzanian kwaya . Boundaries break down within the everyday performance of East African kwayas , such as Kwaya ya Upendo [“The Love Choir”] in Dar es Salaam, as repertoires, traditions, histories, and cultures interact within a performance of social identity.
650		0	_aChoral music _zTanzania.
650		0	_aMusic _zTanzania _xHistory and criticism.
650		0	_aEthnomusicology _zTanzania.
651		0	_aTanzania _xReligious life and customs.
776	0	8	_iOnline version: _aBarz, Gregory F., 1960- _tPerforming religion. _dAmsterdam ; New York, NY : Rodopi, 2003 _w(OCoLC)606984865
830		0	_aChurch and Theology in Context _v42.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789004334328
999			_c16613 _d16613