The Kikuyu, the largest ethnic group in Kenya, resisted colonial authority, which culminated into what became known as Mau Mau, led by the Kenya Land Freedom Army. During this time, the British colonial government imposed laws limiting their access to land, politics, and independence. The turbulent 1950s in Kenyan history should be considered a revolution because of its violent nature, the high level of participation, and overall social change that resulted from the war. I compared many theories of revolution to the events of the Mau Mau movement. Then, I explained the contention for land in the revolution, the role of women, and the place of Mau Mau in modern historiography. I concluded that Mau Mau should be considered a revolution even though its representation during the war and misunderstandings after independence did not classify it as such.

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The Brush Arbor Cemetery is an early-to-late 19th century Black cemetery that was also the meeting place of one of the first Black church congregations in Starkville, Mississippi. The cemetery has suffered greatly from structural violence and degradation. Utilizing Ground Penetrating Radar (GPR), this research has revealed important information about the Brush Arbor Cemetery. The results of the GPR survey suggest there are 54 potential unmarked burials in addition to 35 marked burials. The Viewshed analysis suggests that the likely meeting place of the church congregation is in complete view of the white Odd Fellows Cemetery directly across the street. The Nearest Neighbor Index shows that the remaining headstones are randomly distributed throughout the property, but that the vandalism of these headstones are dispersed indicating that vandals target undamaged headstones on the property. Although this research recognizes the structural violence that has taken place at the Brush Arbor Cemetery it also highlights the ongoing vandalism that continues to transpire on this landscape.

This dissertation undertakes a comparative analysis of the musical, written, and spoken production of Sun Ra and Fela Anikulapo-Kuti with respect to the larger African Atlantic intellectual environment, situating the two artists as both shapers of an Atlantic intellectual culture as well as artists who were, in turn, shaped by that culture. Through a reading of their creative work, the dissertation argues that, even given the obvious cultural, temporal, and temperamental differences between Sun Ra and Fela, both artists' orientations toward musical composition and performance share similar preoccupations with the recitation of cultural memory and the dialogic creation of historical narratives which is called Composing the African Atlantic. In the dissertation the concept Composing the African Atlantic is proposed as a means of describing an African diasporic version of musical composition which includes many of the so-called extramusical elements of text and performance - audience participation and dialogue being key - as constitutive elements of composition such that, in their absence, the music is not fully realized. Stated in the active present tense (Composing), identified as culturally rooted (African), and formed within a broad and discursively contested space (Atlantic), Composing the African Atlantic describes the means by which composers such as Sun Ra and Fela Anikulapo-Kuti conceive of performance as an essential part of composition, enabling the musicians and audience to craft the true Text of the music through the activation of communal memory and the dialogic contestation of history. The result, in the case of both artists, is the creation of a singular compositional and performative style which maintains its connection to its core audience through the use of ritualized concert performance, the challenging of historical myths, and the performance of historical narratives which refute the Hegelian contention that Africa is "no historical part of the world." In the process, both artists assert that there is a common African cultural memory which exists throughout the African diaspora as a result, fundamentally, of the Atlantic slave trade, but which is also a living, contemporary, cosmopolitan dialectic of representation and re-presentation.

For decades, Swahili culture and society have been mischaracterized as an extension of Arabic cultural development. Within the last few decades scholars like Thomas Spear, Derek Nurse, and Chapurukha M. Kusimba have challenged Arabcentric and Eurocentric reductionist notions regarding the development of Swahili society. This dissertation traces the discourse of the historiographic discourse of Swahili culture and its impact on the way that the Swahili people, culture, and language are conceptualized. Furthermore, the research presented here is not solely focused on the material evidence of the development of African communities on the Swahili coast, but also on the ethical and cultural foundations of Bantu society manifested within Swahili society. The African ethics manifested in early Swahili society which still exists today illustrate a more nuanced understanding of the Africanity of coastal communities. As demonstrated by the traditional saying of Swahili communities, select folktales, and the construction of philosophical terminology, the ethics and cultural values of an African cultural paradigm. This idea of the essentiality of the African cultural paradigm to the foundation and development of Swahili culture is evidenced by the cross-cultural analysis of Swahili historical and cultural phenomena to other African communities. / African American Studies

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