The present paper discusses the results of a survey conducted in order to receive an answer to the question posed in the title, i. e. how directives are formulated in Swahili in terms of the directness level of the utterance, considering the mutual relationship between the interactants. The data corpus on which I have based my study comes from 82 Swahili-speaking Tanzanian students.

An update of Swahili bibliography and listing of articles of former issues of the Swahili Forum.

Kiswahili hat ein doppeltes System der nominalen Klassifikation. Das erste System ist das aus dem Bantu (Niger-Congo) bekannte System der konkordierenden nominalen und \"pronominalen\" Präfixe; das zweite, jüngere System gründet sich auf das Bedeutungsmerkmal [belebt]. Die grammatische Kategorie NUMERUS (SINGULAR::PLURAL) gilt nur im zweiten System; innerhalb des ersten Systems ist die Bildung der Nominalpaare, z .B. mtulwatu, ein derivationeller Prozeß und bezieht Konkordanz sich ausschlieBlich auf die Kategorie KLASSE.

This paper presents a description of sentential negation in Kiswahili and attempts a partial analysis of sentential negation in Kiswahili within the Principles and Parameters framework, in particular, following Pollock\''s (1989) proposal to split IP into several functional categories including NegP. The main claim is that negation mruking in Kiswahili is an instance of negation projection, NegP. The main evidence for this is found in relative clauses and conditional clauses where negation blocks I -to-C movement. The paper is organized into 5 sections. Basic theoretical assumptions are outlined in Section 1. Section 2 presents a description of the basic facts about four strategies of expressing sentential negation in Kiswahili and highlights problems that the data raise. Section 3 discusses the interaction between negation and relative marker. In Section 4, the location of NegP in IP is proposed. Section 5 presents some general conclusions and summarizes questions for further research.

To refer to the origin of taarab as a direct importation of Egyptian music by the Arab upper class (Topp 1994:153) is a plausibility without solid evidence. To define it as a style of music played for entertainment at weddings and other festive occasions all along the Swahili Coast (153) is to exclude other styles of music, indeed played for entertainment at weddings and other festive occasions all along the Swahili Coast. To say that taarab contains all the features of a typical `Indian Ocean music`, combining influences from Egypt, the Arabian peninsula, India and the West with local musical practices (153) is apparently true but does not adequately capture the ambiguities and complexities of its protean nature. Refening to taarab as the Swahili popular `salon` music whose song may be recorded or, as often is the case, orally transmitted (King`ei 1992:29) is misleading, for taarab is not always `salon` music and the method and process of creating and transmitting a song in taarab is not the same as that of other forms of African music. To state that taarab has transcended its local Swahili boundaries to be consumed in other communities including other cities in East and Central Africa (Ntarangwi 1998: 150) is a valid statement from a point of view of media, change and spread, but still leaves out a lot to be said. Taarab, like so many complex living things, refuses to be thrust into neat bags or squeezed into terse all-embracing definitions. It is an ongoing process whose form(s) are amorphous, assuming different structures, roles, functions and epithets triggered by a number of factors. That notwithstanding - whatever forms, role and function taarab exhibits at different stages, its making consists of five major components or processes: the composition of the lyric, the composition of musical patterns, the extemporized performance of its song, instrumentation and audience.

This article deals with the communicative uses of the printed wrap cloth kanga. Specifically I will show how the kanga is constituted as a communicative sign and is at the core of ambiguation processes that are pervasive to this communicative genre. Because of its high degree of ambiguity the question arises whether we can, for communication by way of kanga, still speak of communication in any sense. In my opinion, we can only do so if it is possible to analyze the communication process within existing models of communication. Starting from the hypothesis that the kanga indeed has communicative potential communication is understood as social interaction, whereby the focus is not solely on meanings in a pragmatic or semantic sense, but rather on social meaning, i.e. the negotiation of relationships between the interactants in an area of tension between individual, social and cultural interests (within which meaning in a linguistic sense does play a role, too) (Anderson & Meyer 1988, Burgoon et aL 1996). This will be shown in the fust part of the analysis. In the second part of this article I will describe and explain the role of the medium kanga within this process of ambiguation. This article is based on material collected during two field periods in 1994/ 1995 and 1996 in Mombasa and, from 1995 onwards, in various archives in the Netherlands and Switzerland.

Once more we can offer our readers some further titles of the Swahili- related research literature, some brand new in publication, others already out since years, yet still not yet put on record for the wider world of Swahilists. Our call for bibliographical references was hardly responded to by the readers of Swahili Forum VII and other possible contributors except for one scholar who much prefers to be `in consultation with` a certain other scholar. Therefore we once more would like to draw your attention to communicate your articles, books and other resources on Swahili studies to us so that the bibliographical section of the next Swahili Forum will be a treasure house again. Atiya koko wangue koma (Tiuow a fruit stone into the tree and you may bring down a doum-fruit). For the present issue we present all the titles which we happened to come across during one year of observation.

Below are listed publications on the Comoro Islands which have appeared since the publication of the extensive Comoros bibliography in Ottenheimer & Ottenheimer 1994 (& online at: http:/ /www.ksu.edu/sasw/comoros/combibl.cornoro).

The aim of this paper is to show that Swahili has several strategies to resolve verbal agreement with conjoined noun phrases. In section 2, I give a brief summary of the situation as depicted in grammatical descriptions of Swahili. I then present a number of examples - mainly taken from Muhammed Said Abdulla`s (1976) novel Mwana wa Yungi hulewa - illustrating different strategies of agreement with conjoined NPs. In section 4, I present an analysis of one of the strategies discussed and argue that the choice of different strategies is not only based on dialect or speaker variation, but rather can be related to information structure and the dynamics of interpretation.

`The Rosetta Stone Language Library` is a language learning software developed by the American company Fairfield Language Technologies which allows users to learn a foreign language with their computer without the aid of an instructor. The program promises its users they can learn a language faster and with more ease than ever before, without having to learn vocabulary or grammatical rules. Once having completed Levels I and II, learners should be able to make themselves understood in the new language using a basic vocabulary of roughly 3000 words. Both these levels are to be completed within a time frame of one to two years, and the results should be the equivalent of five years of conventional school instruction. Since 1993, a Swahili language course has been featured in The Rosetta Stone for which only Level I is currently available. With regard to the Swahili course, it must be asked if this design can work with a class language just as it does with an Indo-European gender language. The second question addresses the cultural adequacy of the contexts, or more specifically, of cultural knowledge, which must not be excluded from modern language instruction.