‘Taarab’ is a popular music entertainment in East Africa whose origin is ‘contentiously’ given as Middle East. It is an art form imported to East Africa perhaps in the early years of the 1900s. Taraab has been ariedly looked at, but has generally been seen as a uniform body. This essay sets out to show that from its inception in East Africa, taarab has never been uniform as it started to develop its own characteristics and peculiarities as a performing art. It has been undergoing a number of changes in its musical and lyrical structures. It moved outward to become a popular music instead of being court music, and from being coastal music to being a music that has spread out to inland Tanzania, Kenya, Uganda and Burundi, thus approximating musical structures of these regions as it is assuming new roles and functions. Although in our description we do in passing refer to the whole body of the art complex ‘taarab’, it is on the lyric that we focus on. This article is written on the basis of findings from field work and library research that have been conducted from 2000 to date in a project entitled Local and Global Aspects of Taarab: A Popular Music Entertainment in East Africa, under the umbrella topic “Lokales Handeln in Afrika im Kontext globaler Einflüsse”, funded by Deutsche Forschungsgemeinschaft (DFG).

This paper discusses Standard Kiswahili honorifics in Nairobi. It used observation as a means of obtaining data in Nairobi where Standard Kiswahili is also spoken. It points out that honorifics are a chief politeness strategy across many discourse domains; Kiswahili honorifics are conspicuously used and seem easy to learn; honorifics complement other politeness strategies; they are used in both formal and informal encounters. This paper also argues that honorifics in expressing face sav-ing ideals in Kiswahili language have both a social and individual appeal. There is, therefore, a strong suggestion for social face and communal based politeness as opposed to individual polite-ness in Kiswahili. This paper observes that politeness and especially by means of honorifics makes a Kiswahili conversational encounter fruitful. The honorifics also help to define, redefine and sus-tain social strata that are used as a basis of expressing face-saving ideals and politeness in Kiswa-hili and hence contributing to less conflict in interaction and strengthening cohesion in society in question.

Book review of `Kenya Coast Handbook. Culture, resources and development in the East African littoral`by Jan Hoorweg, Dick Foeken & R. A. Obudho.

The aim of this study is to illustrate the state of-the art of technical tools which allow the user to build the lexicon of a Swahili text. Different kinds of statistical information can also be extracted from the text with the aid of tailor made software. The basic operation in building the lexicon of a text is lemmatization, i. e extracting the lemma from the forms contained in the text. Once the lemma list is ready it can be converted into a list of entties, to be filled according to selected criteria.

Taarab is a style of music performed all along the Swahili coast at weddings and on other celebratory occasions. It is arguably the most important type of entertainment music played in this region, and it is certainly prevalent in Zanzibar, where it has come to be considered part of the very characterisation of the island itself: this is the island of cloves, the island of slaves and `the island of tawab` (Seif Salim Saleh, lecture at the African Music Village Holland Park, London, July 18, 1985)

There are many different traditional costumes in the world. In Zanzibar, a Swahili man is said to be fully attired when he puts on an embroidered cap, locally known as kofia ya viua or just kofia, robe (kanzu) with a coat, and sandals taking a Swahili name of makubadhi. The Kofia is round-shaped with a flat top, adorned with embroidered designs all over For convenience of simplicity in classification kofia are divided into two main groups, simple designed and complex-designed caps.

Aliyetunga kasiga hii, Sheikh Abgallah al-Husni, alikuwa ni mtu maarufu sana Mombasa .. Kwa muda wa myaka arobaini takriban alikuwa akisomesha elimu za gini, msikiti wa Anisa, Mjuwakale; piya alikuwa akitoa waadhi msikiti huu na mahali pengine .. Antunga kasiga mbili za waadhi, moja katika hizo ndiyo hii tuliyoishereheya katika makala haya .. W akati wa kutungwa waadhi huu - 1368 (mwaka 1948 wa milagi) - Mombasa ilikuwa ikali mji wa kiSawahili, yaani mji wa kilsilamu; lakini kulikuwa kuna mabadiliko makubwa yaanza, mabadiliko ambayo mwisho yanaondowa sura za uSawahili katika Mombasa na pwani nzima ya Afrika ya mashariki.

Deutsch-Swahili Worterbuch is a bilingual German-Swahili Dictionary compiled by Karsten Legere and first published in 1990 Deutsch-Swahili Worterbuch (DSW) is aimed at the German student of Swahili, and to a lesser degree the Swahili speakers, who are advanced learners of German. The former use the dictionary for encoding Swahili and to translate German texts into Swahili The latter use it to decode German.

East Afiica and in particular the coastal region has been attractive for many researchers from the colonial period to the present times. Foreign researchers mostly from Europe and America have come to the Swahili coast with much curiosity on a wide range of subjects. Beginning in the 19th century when Africa was regarded by Europeans as `the dark continent` inquisitive geographers, prospective traders, colonial administrators and Christian missionaries came to satisfy their curiosity. On top of their duties they also embarked on research on various desciplines, in particular geography, linguistics, anthropology, and history. Their findings were then compiled in the form of books and theses which today form the basis of our reference.

For the students of Swahili poetry that predates the twentieth century (e.g. Muyaka, Alinkishafi, Mwana Kupona, Hamzivva and others) there has always been a dire need for a book which could aid in the understanding of this poetry. This need is made acute by two main reasons: Firstly, classical Swahili poetry is written partly in what is known as Kingozi, an archaic form of language believed by many to be some kind of proto-Swahili. Secondly, the language of old Swahili poetry also incorprates a lot of features from the northern dialects of Swahili (e.g. Kiarnu, Kip ate, Kisiu etc) This combination of archaic Swahili and features from the northern dialects of the language renders both the understanding and the explication of the pre-twentieth Swahili poetry rather difficult for many readers.