This dissertation is about the architecture of the Swahili peoples living along the eastern coast of Africa. Specifically, it explores the links and relationships between oral traditions, rituals and the built environment of the Waswahili (sing. Mswahili) or the 'people of the coast'. The 'ambiguous' and 'anomalous' identity of the Waswahili raises important questions on the definition and the understanding of Swahili architecture. To understand Swahili architecture, one must, first, understand the language and identity of the Waswahili. This dissertation makes use of new sources for the interpretation of the built environment of the Waswahili as depicted in the standing 18th century buildings in Lamu town, the oldest living town on the eastern coast of Kenya. Designated on UNESCO's World Heritage List, Lamu has a unique architecture that has often been misinterpreted and misunderstood, and such studies often lack authenticity. This dissertation is an attempt to bridge the gap between the identity and the built environment of the Waswahili and to portray Swahili architecture through oral discourse.

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Abstract Lamu Island on the Kenyan coast is the home of a society with a thousand year history of contacts with other cultures through trade and shipping.  The loss of its traditional socio-economic base has led to the entry of tourism as the main income generating activity and the major contact with distant peoples. Tourism in Lamu is based on the old heritage in combination with a rich but sensitive tropical landscape.  One concern is how to develop tourism and at the same time preserve a certain set of landscape values. The thesis is based on observations and interviews with the host community in Lamu, focusing on how the local community conceptualize and adjust to the transformations in their envisaged and experienced landscape as a result of their involvement in tourism. Modern tourism ought to be closely linked to development in all respects and could be regarded as an important part of an open society which gives possibilities for interaction between people from different backgrounds. This investigation focus on the socio-cultural dimensions of sustainability and deals with the residents’ adaption to the new opportunities. The analysis show that the meeting with tourism gives certain effects in the social land-scape such as the accentuation of differences already existing in the society, the evolvement of a new moral landscape and the highlighting of the need of strategies to achieve sustainable development.

Cultural festivals have become a prominent topic of research because of their socio-economic value. However, thus far, limited research has been conducted on the more profound issue of the possible contribution of festivals towards constructing a cultural identity. The aim of this study was therefore to determine the role that one particular festival, the Lamu Cultural Festival, plays in constructing cultural identity, particularly when people from different cultural backgrounds are involved. Lamu in Kenya was chosen as the study area, due to its rich and unique cultural heritage, with the main aim of investigating whether the Lamu Cultural Festival is helping to preserve the cultural heritage of this area and/or to create a new Lamu identity. An anthropological approach was used to conduct the study on cultural identity. The research was conducted on the 14th annual Cultural Festival in Lamu, where the festival has taken place since 2001, after the Island was declared a UNESCO World Heritage Site. The best way to understand another culture is to experience it first-hand by travelling to the destination, hence the use of participant observation for data collection. The dissertation looks at various debates regarding identity construction through cultural festivals. It also investigates the development of festival literature, festival tourism and the history of festivals. Cultural practices among the Aweer, the Bajuni, the Sanye and the Orma in Lamu, and these people's sense of cultural identity before the introduction of the Lamu Cultural Festival are also assessed, in order to understand the respective senses of cultural identity of these four indigenous groups involved in the festival. The Lamu Cultural Festival itself is also discussed in detail: the planning process, stakeholders and organisers, people's motivations for participating in the festival, festival items and their composition. The research findings may assist festival organisers in achieving a better understanding of the importance of involving indigenous communities in the planning process and possibly in achieving a Lamu identity over time. / Dissertation (MHCS)--University of Pretoria, 2017. / Historical and Heritage Studies / MHCS / Unrestricted

This research focuses on the phenomenon of Swahili poetry and its continued existence amongst Swahilis in Lamu Town, a performative art that is gradually waning in traditional contexts. When people talk about mashairi (poems) in Lamu Town they are referring to both Swahili songs and poems, the two terms are used interchangeably. Mashairi also refers to a form found in Swahili poetry. I look at the usage of the text from these mashairi as lyrics employed in duas (special Islamic prayers) and traditional songs and dances specifically performed by women during Swahili weddings. It is an art that has existed for hundreds of years dating back to the 11th century through oral sources. I begin by defining the East African region, who the Swahili people are, while providing a historical background of their origins and the Swahili language. I also explore Arabic influences on Swahili culture, language and literature as part of the Re-Centring AfroAsia project (Musical and human migrations in the pre-colonial period of 700-1500AD) that has sponsored this research project. Swahili poetry continues to celebrate traditional lyrics in songs and dances performed by women in contemporary Swahili culture. There are specific members of the community who are known to possess mashairi compositional skills. Families planning weddings and duas will request that these poets compose a corpus of mashairi with detailed specifications. They are then used as lyrics in songs and dances attached to these ceremonies or they are performed as stand-alone songs. Mashairi had first existed as oral literature and stand-alone songs owing to archaic wedding songs and dances. They continue to be an essential defining feature of Swahili traditional practices. I give a laconic history of classical Swahili poetry; how Arabic facets directly or indirectly influenced this art after Arabs developed ties with Africans living on the Swahili littoral. I provide a condensed historical background on the life of one of the first and most prolific Swahili poets, Fumo Liyongo, and briefly explore factors that influenced his compositions. I rigorously analyse lyrics of songs and dances whose texts have been derived from modern mashairi and compare their themes, narratives and structure with classical mashairi. I also scrutinize the role and importance of the art of mashairi as a source of lyrics and the efforts of two poets from Lamu Town whose compositions are socially impacting the society. This art has survived for hundreds of years and has come to symbolize the enduring spirit of the Swahili people.

In this paper I give biographical sketches of a thirteen century Egyptian poet, best known as al- Busiri, the original composer of Kasidatul Burdah in Arabic and the Swahili translator of the said epic best known as Sheikh Muhammad Mshela, from Shela in Lamu, Kenya. Kasidatul Burdah (The Mantle Ode) or Kasida ya Burudai, in Swahili, is the most famous qasida in the Muslim world. I transcribed this qasida from Arabic to Roman script and analysed it (wa Mutiso 1996). My intention is to show how these poets share the same world view concerning Sufism and Islamic culture in particular

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This study analyses regionalism in Africa from a theoretical and an applied perspective. The purpose of the study is to contribute to the critical and reflectivist corpus of theories of regionalism. This field is dominated by rationalist theories that are largely preoccupied with formal inter-­‐state and market-­‐driven processes of regional integration. The rationalist theoretical hegemony in academia and politics serves to reinforce and reproduce neoliberal ideology informing global political economic practices. This study illustrates the limitations and normative assumptions of these orthodox frames and demonstrates the multidimensionality of regionalisation. The study applies a combination of three critical reflectivist theories: the World Order Approach, the New Regionalism Approach and the New Regionalisms Approach/Weave-­‐ world in an analysis of an ongoing regional oil and infrastructure project in East Africa called the Lamu Port, South Sudan and Ethiopia (LAPSSET) Corridor. The study’s primary research question investigates the extent to which oil production is driving the manifestation of (new) regionalism in East Africa, especially in terms of the LAPSSET Corridor, with secondary questions identifying the actors involved in this regionalisation, and what the theoretical framework reveals about the regionalisation in East Africa. After a review of some of the most influential theoretical contributions to the study of regions a critical reflectivist approach is suggested as an alternative to conventional rationalist theories. A broad historical overview of the East African region is elaborated with a focus on Uganda and Kenya, highlighting the social, cultural, political and economic evolution of the region before reflection on how forces of production relate to regime type in East Africa. Subsequently, a case study establishes an assessment of the historical and social construction of the LAPSSET Corridor. The objectives of the LAPSSET Corridor and its implementation mechanisms are scrutinised and viewed in comparison with its potential for inclusiveness of local participation and sustainable socio-­‐economic development. Two important conclusions can be drawn from this study. The first is that oil production is critical in the current regionalisation in East Africa. However, the nature of this regionalisation flows contrary to other regional motives. The second conclusion is that the anti-­‐reductionist and critical reflectivist approach is indeed essential to fully understand the variety of multi-­‐level factors of structures and agency that influence regionalism and regionalisation in East Africa. / AFRIKAANSE OPSOMMING: Hierdie studie analiseer regionalisme in Afrika vanaf ‘n teoretiese en ‘n toegepaste perspektief. Die doel van die studie is om by te dra tot die kritiese en reflektiwistiese liggaam van teorie oor regionalisme. Hierdie studieveld word gedomineer deur rasionalistiese teorieë wat meerendeels besig is met formele inter-­‐staat en markgedrewe prosesse van regionale integrasie. Die rasionele teoretiese hegemonie in akademia en politiek versterk en herproduseer sodanig neoliberale ideologie wat global politiek-­‐ekonomiese praktyk bepaal. Hierdie studie wys die beperkinge en normatiewe aannames van hierdie ortodokse beskouings uit, en ontbloot die multidimensionaliteit van regionalisering. Die studie pas ‘n mengsel van krities-­‐reflektivistiese teorieë toe: die Wêreldorde Benadering, die Nuwe Regionalisme Benadering, en die “Verweefde Wêreld” Benadering in ‘n analise van die regionale olie en infrastruktuurprojek in Oos-­‐ Afrika wat die “Lamu Port, South Sudan and Ehtiopia” (LAPSSET) Korridor genoem word. Die studie se primêre navorsingsvraag fokus op die mate waartoe olieproduksie die manifestering van (nuwe) regionalisme in Oos-­‐Afrika dryf, veral in terme van die LAPSSET Korridor, met sekondêre vrae om die akteurs te identifiseer wat betrokke is by hierdie regionalisering, en wat die teoretiese benadering blootlê aangaande die regionalisering in Oos-­‐Afrika. Na ‘n oorsig van die belangrikste teoretiese bydraes tot die studie van streke word ‘n krities-­‐reflekiwistiese benadering voorgestel as ‘n alternatief vir konvensionele rasionele teorieë. ‘n Breë historiese oorsig van die Oos-­‐Afrika streek word verskaf, met ‘n fokus op Uganda en Kenia, en dit beklemtoon die sosiale, kulturele, politieke en ekonomiese ontwikkeling van die streek voordat ‘n oordenking van hoe die magte van produksie betrekking het op regimetipe in Oos-­‐Afrika. Voorts verskaf die gevallestudie ‘n oorsig van die historiese en sosiale daarstel van die LAPSSET Korridor. Die doelwitte van die LAPSSET Korridor en sy implementeringsmeganismes word geëvalueer en beskou in vergelyking met sy potensiaal vir die insluiting van plaaslike deelname en volhoubare sosio-­‐ekonomiese ontwikkeling. Die studie maak twee belangrike gevolgtrekkings moontlik. Die eerste is dat olieproduksie krities belangrik is in die huidige regionalisering in Oos-­‐Afrika. Maar tog is die aard van die regionaliseringspatrone teenstrydig met ander streeksmotiverings. Die tweede gevolgtreking is dat die teen-­‐reduksionistiese en krities-­‐reflektiwistiese benaderings wel sentraal staan tot ‘n volle beskouing van die verskeidenheid van veelvlakkige faktore wat regionalisme en regionalisering in Oos-­‐Afrika beïnvloed.

In this paper I give biographical sketches of a thirteen century Egyptian poet, best known as al- Busiri, the original composer of Kasidatul Burdah in Arabic and the Swahili translator of the said epic best known as Sheikh Muhammad Mshela, from Shela in Lamu, Kenya. Kasidatul Burdah (The Mantle Ode) or Kasida ya Burudai, in Swahili, is the most famous qasida in the Muslim world. I transcribed this qasida from Arabic to Roman script and analysed it (wa Mutiso 1996). My intention is to show how these poets share the same world view concerning Sufism and Islamic culture in particular