Kwanini wazungu wana historia na sisi Waafrika hatuna?

Tatizo kubwa sana walilonalo waafrica na bado tunalo ni kwamba hatu hifadhi maandishi au histori zetu hivyo tulutegemea sana oral tradition ya simuliz kutoka kwa wahenga!! Hivyo pind wanapo farik na historia inapotelea mbali!!!
 
road master said:
Tatizo kubwa sana walilonalo waafrica na bado tunalo ni kwamba hatu hifadhi maandishi au histori zetu hivyo tulutegemea sana oral tradition ya simuliz kutoka kwa wahenga!! Hivyo pind wanapo farik na historia inapotelea mbali!!!
Click to expand...

Hilo lingeweza kurekebishika la kuchukua hatua za simulizi za mdomo na sauti (midundo ya ala za ngoma, ghani, maigizo n.k) kuwekwa katika maandishi.

Tumevurugwa sisi Waafrika kiasi hata uzao mpya kupitia ujauzito unakaribishwa kwa sherehe za kigeni. Sunah ya kigeni imechukua nafasi ya jando la kienyeji la kikabila ambapo vijana wangeweza kujua na kupata mafundisho ya asili za kwao.

Pia Waafrika wanapoiaga dunia baada ya maisha ya kuigiza wageni walau wangezikwa kiasili waende kuonana na wahenga wao waliotangulia, lakini Waafrika hawa bado wanazikwa 'kigeni' wakaonane na Miungu ya Kigeni badala ya Miungu yao ya kina Mahoka Zolelanga ya Matombo Morogoro n.k

Jamii za watu weupe wana simulizi za mdomo na sauti mpaka Leo bila kusahau pia wamezitia ktk maandiko kuzihifadhi.

Wapi umeona waAfrika wakihangaika kuhifadhi hata simulizi za mdomo na sauti zama hizi tulizonazo.

Waafrika wanahangaika kufuata mkumbo kuasili jadi, majina, vyakula, mavazi, tamaduni, simulizi za mdomo pia sauti bila kusahau imani ngeni za dini za kuja, desturi na maisha ya kigeni huku wao Waafrika wakitumika kama maajenti/ mawakala mstari wa mbele kabisa kutupa na kuangamiza asili na kila kitu kinacho mtambulisha uafrika wake na mizizi ya mababu na bibi zake iliyopo Namtumbo, Rulenge, Bagamoyo, Ujiji , Amanzimtoti, Takoradi, Kisumu n.k.
 
Mtifuano wa kihistoria wa karne na karne baina ya Jamii ya waTuruki na WaArabu ni mifano ya jinsi waliochukuliana na mpaka leo ipo hivyo:

  1. Volume 160-161, Issue 1, 2016

There is no cloud in the air, what is that smoke?
There is no death in the neighborhood, what is that cry?
Those Yemen lands are so rugged
Mother, here is Yemen, its rose is fenugreek
Those who go never return, we wonder why
This is Housh, [2] its roads are steep
Those who go never return, what is going on?
Before the barracks, weeping willows are aligned
Seated officers counsel the courageous
Soldiers come to Yemen
…
Smoke surrounds the barracks
Mothers and fathers are broken-hearted
All mourn for those gone to Yemen. [3]

Why use this “song of Yemen” (Yemen türküsü), a song familiar to everyone in modern-day Turkey, to introduce a paper on the representations Turks use to express their perceptions of Arabs… knowing that these designations—Arabs, Turks—encompass considerable religious, ethnic, and cultural diversity? The imaginary of the peoples does not, however, avoid blanket judgments, and attributes peculiarities to the world around it, based on its own particular cartographic and cultural way of dividing up the world. Based on a geocultural and geopolitical approach, [4] this article seeks to define and analyze the imaginary, or the representations, that civil society and political authorities use in Turkey for “Arabs.”
As part of the Ottoman Empire for various periods since 1517, Yemen has held a place in the Turkish imaginary, literature, and popular music that goes far beyond its importance in the Ottoman hierarchy of....

READ MORE : https://www.cairn-int.info/article-...turks-so-close-yet-so-far.htm?contenu=article
 
Cultural Comment

What Do We Love About “War and Peace”?​

menand-louis.png

By Louis Menand
January 18, 2016

One of our more bizarre traditions is the playing of Tchaikovsky’s “1812 Overture” on the Fourth of July. The practice started in 1974, when Arthur Fiedler, the locally beloved maestro of the Boston Pops Orchestra, performed it at the climax of his annual Fourth of July concert on the Charles River Esplanade.

The audience was thrilled, and it is said to have revitalized attendance, which had been flagging.

Celebration organizers across the land took note, and now even Americans who have no idea who Tchaikovsky was associate the finale of the “1812 Overture” with Fourth of July fireworks.
Like the original Tolstoy novel a new BBC adaptation of War and Peace focusses on the wellappointed lives of the Russian...

Like the original Tolstoy novel, a new BBC adaptation of “War and Peace” focusses on the well-appointed lives of the Russian nobility while overlooking the country’s serfs.PHOTOGRAPH BY LAURIE SPARHAM / BBC

It’s a little peculiar that someone decided to play a Russian patriotic anthem on Independence Day in the middle of the Cold War. It would have been like the Soviets playing “The Battle Hymn of the Republic” on May Day. But no one seems to have minded. For many Americans, if “1812” means anything, it means the War of 1812, which, of course, is what “The Star-Spangled Banner” was written to commemorate. And with crazy carillons and cannon shots, the “1812 Overture” is a hundred times more rousing than “The Star-Spangled Banner” (except maybe when Whitney Houston sang it). It also goes great with fireworks. What it does not go so great with is democratic revolutions.

In the war between France and Russia, the war that the “1812 Overture” celebrates, there are no unadulterated good guys. Still, if you have to pick a side, your choices are a mad military dictator who marched his army across Europe talking about equality and the rights of man, and the absolute ruler of a vast feudal empire, at the bottom of whose class system were millions of people, a third of the population, who were treated as property. These were the serfs—effectively, if not exactly, slaves.

For the tsar and his allies on the European continent, crushing Napoleon meant crushing the democratic infidel and saving the aristocratic order.

It’s true that Napoleon hijacked the French Revolution and betrayed its principles (which had already been betrayed by the revolutionaries themselves). It’s also true that Tsar Alexander, by the standards of his time and place, had liberal aspirations, if not many liberal accomplishments.

But Napoleon belonged to something much closer to the spirit of the American Revolution than the Russians did. If we want to hear music on the Fourth of July that is actually about liberty and democracy, we should play “La Marseillaise,” not the “1812 Overture.” (I don’t see this happening, somehow.)

When cultural goods travel, their historical baggage gets lost in transit. Is this also a problem with “War and Peace”? Tolstoy’s huge novel about Russia during the Napoleonic Wars has been adapted many times, despite the difficulty of catching the essence of a work whose essence has a lot to do with sheer scale.

When the book was published, in 1869, people wondered what genre it was. There was a character named Napoleon. Was this a history or a novel? And why was it so big? It’s big because it’s both. In most historical novels, the history part is backdrop for the novel part.
In “War and Peace,” like the title says, you get equal measures of each. It’s a production challenge.


My first encounter with the book was actually through an adaptation. This was the twenty-episode BBC “War and Peace” broadcast here on PBS in 1972. What a powerful show that was. It drags in parts today, but in 1972 no one had seen television that grand or ambitious before. The length—almost fifteen hours—meant the series could include scenes, like the wolf hunt, or Denisov dancing the mazurka, that are dramatically superfluous but thematically vital.

The acting is inspired, in part because the casting was inspired, from Anthony Hopkins, as Pierre, to David Swift, as a pint-sized, swaggering Napoleon. Everyone looks just the way he or she’s supposed to look. It spoiled me for other adaptations.

The new BBC miniseries, now playing on multiple cable channels, is about half as long, and it dispenses with the wolf hunt, but it’s gorgeous to look at. In 1972, you couldn’t digitally enhance, say, a battle scene; you had to dress up dozens of extras and use real-time cannon smoke. That’s not necessary today. And the domestic scenes, the “peace” parts—the great houses and enormous estates and the towering Russian sky (which is assigned a major role in the novel)—are also captivating.
VIDEO FROM THE NEW YORKER
Re-creating the Syria of His Memories, Through Miniatures

Does the new series get the novel? Not really. It’s a costume drama, “Downton Abbey” goes to Moscow, one of those “Masterpiece Theatre”-type shows that, despite the toniness and the high-end production values, is basically about the trials and tribulations of getting exceptionally attractive and ridiculously rich people properly paired off. Within the confines of that slightly soapy ambition, the series is credible and, at moments, quite moving. But it’s much more interested in Anatole flirting at the opera than in Pierre eating the potato. It gives Tolstoy’s big existential question—if we are only tiny bits of life being blown around in a great cosmic storm, and have no control over what happens to us, what can it possibly mean to live in the right way?—a pass.

“Natasha, Pierre and the Great Comet of 1812,” which is billed as an “electropop opera” and comes to Broadway next September, lasts only two hours and adapts just one bit from the novel, the story of Natasha’s naïve infatuation with the rakish no-goodnik Anatole Kuragin. The show, which is the creation of Dave Malloy, who is responsible for the book, the music, and the lyrics, has been playing in various venues for several years already. (Josh Groban will take over the part of Pierre when it comes to Broadway.)


The sets, lighting, and costumes are fantastic. The entire theatre is furnished like some Muscovite night club, pirogies and vodka are served, and the cast and musicians mingle with audience members, some of whom are seated at café tables onstage. It’s all about as mixed-media and as Russian-y as it can be. Then the music starts, and the actors belt out show tunes of an unusually (or usually, depending on your taste) insipid kind. If that is your taste, it makes for fairly spectacular theatre, but Tolstoy is mainly in the décor.

The serfs were emancipated in 1862 (one year before the United States got around to emancipating the slaves), and after “War and Peace” began appearing in installments, in 1865, it was criticized for failing to represent the cruelty of life under the old regime. Tolstoy was basically accused of writing the equivalent of “Gone with the Wind,” a glorification of a lost world of privilege—the major characters are all nobility—whose existence rested on the backs of millions of serfs. The hero of the book, the harmless and lovable Pierre Bezukhov, owns forty thousand serfs. (He tries to liberate them, but ends up making their lives even worse.)

It’s not that Tolstoy pretends that the system was other than what it was. In the wolf-hunt episode, for instance, we learn that one of the hunters purchased his prize borzoi with three families of serfs. But this is mentioned in a completely offhand way, as a fact no one would have thought twice about. That is the kind of thing that seems to have irritated Tolstoy’s critics.
Tolstoy was sufficiently concerned to write a reply. He explained that he had done research on the period, and he had not found that things were much worse in 1805 or 1812 than they were in 1865. “In those days, people loved, envied, sought truth and virtue, and were carried away by passion,” he wrote, “and there was the same complex mental and moral life among the upper classes, who were in some instances even more refined than now.” Tolstoy gives his characters a conscience, just not the conscience of people living fifty years (or two hundred years) later.

A man who exchanges three families for a hunting dog seems to us a monster, but fifty years from now, people may find it incomprehensible that we kill animals in order to eat them.

Most of us are like Pierre, who thinks Napoleon is a great man one day and the next day thinks he’s the anti-Christ. We have principles, and then we exchange them for other principles. But we can be pretty sure that what counts as enlightened opinion today the next generation will laugh at. Tolstoy (at least in this novel) thought we can’t know what is going to matter over history’s horizon, but that we can torture ourselves fretting about it. There are many ways to find a moral in the Russian defeat of Bonaparte in 1812. One is to read it as Tolstoy did, as the triumph of patience over hubris and of solidarity over grandiosity. That’s a moral suitable for the Fourth of July READ MORE : Source: What Do We Love About “War and Peace”?
 
Joseph_Mungure said:
Kweli kabisa mkuu, ndio maana na mimi niaongezea hapo ili kumtawala mtu inabidi asili yake uipoteze, asahau lugha, ufahamu wake wa mambo na uwezo wake n.k. Ndio kilichofanyika Afrika.
Click to expand...
Hata kusahau majina yao ya asili...jina kama Joseph wala halina asili ya Afrika....
 
Michoro yenye kusimulia historia ya maisha na mazingira yetu mfano TingaTinga wengi hatuijui na kama tunaiona basi inaoneshwa na watu wa nje kwa sana badala ya sisi wenyewe kuwa machampioni wa kuenzi, kulinda na kukabidhi muendelezo wa simulizi picha chora ya bwana Edward Saidi Tingatinga.

1632831696242.png

Picha : Edward Saidi Tingatinga akiwa kazini pia kituo chake ni chuo cha sanaa ya uchoraji wenye simulizi kupitia picha kuhusu historia yetu kwa engo mbalimbali.

17 January 2021
Morogoro Stores,
Haile Sellasie Road
Dar es Salaam Tanzania

CNN Inside Africa takes a look at Tingatinga African paintings and its background inside our studios in Dar es Salaam. Tingatinga African paintings are found in Tanzania and are the most known style of art on the continent.


Source : CNN
 
Tingatinga ikituletea simulizi zetu ya zamani mpaka siku hizi Mzee Abdul Amonde Mkura anasema


Source: CGTN
 
APPROXIMATELY said:
Wakorea wana historia yao toka mwanzo wataifa lao kuwepo kipindi cha devine Jumong, wazungu hivyo hivyo wana story zao, mbona sisi waafrika hatuna hadithi zetu za mwanzo, au baada wa wazungu kututawala walichukua hadithi zetu? au wazee wetu hawakuwa na sehemu ya kuweka kumbukumbu?

sisi hadithi tulizonazo ni kutawaliwa tu hapo wazungu kuna mambo wameyaficha, pindi tukijuwa historia yetu tutafanya revolution tutawala dunia

story zao mungu mweupe shetani mweusi, hatuna historia tupo tupo tu kama mtoto yatima, wametuletea magonjwa kibao ila bado tunadunda, sisi endapo tukijua Historia zetu tuta fanya mapinduzi
Click to expand...

historia ya kwanza kuandikwa leo tanzania mbowe kushinda vita vya wakoloni wa kijani
 
APPROXIMATELY said:
Wakorea wana historia yao toka mwanzo wataifa lao kuwepo kipindi cha devine Jumong, wazungu hivyo hivyo wana story zao, mbona sisi waafrika hatuna hadithi zetu za mwanzo, au baada wa wazungu kututawala walichukua hadithi zetu? au wazee wetu hawakuwa na sehemu ya kuweka kumbukumbu?

sisi hadithi tulizonazo ni kutawaliwa tu hapo wazungu kuna mambo wameyaficha, pindi tukijuwa historia yetu tutafanya revolution tutawala dunia

story zao mungu mweupe shetani mweusi, hatuna historia tupo tupo tu kama mtoto yatima, wametuletea magonjwa kibao ila bado tunadunda, sisi endapo tukijua Historia zetu tuta fanya mapinduzi
Click to expand...
Nisasamehe kwa ushauri huo: badala ya kulialia kwenye intaneti, chukua pesa nenda duka la vitabu mfano Nyota na Mkuki huko Dar Samora Ave. Nunua kitabu cha historia ya Tanzania na Afrika. Utajifunza mengi ya kuondoa ndoto hiyo mbaya.

Menginevyo acha lugha "Waafrika" - Waafrika gani? Afrika ni bara penye tamaduni nyingi.
Tamaduni kadhaa ziliacha kumbukumbu ya miaka mielfu (mfano Misri), nyingine miaka angalau 1700 au zaidi (Ethiopia), nyingine miaka zaidi ya elfu moja (Afrika ya Magharibi).
Ulaya ni vile: Italia na Ugiriki wana kumbukumbu ya miaka 2000 - 3000. lakini ukiangalia Wacheki au Waslovakia, hawafikii miaka 1,000. Makundiu madogo zaidi karne kadhaa tu.
Tofauti kubwa ni swali la ushuhuda wa kimaandishi na ushuhuda wa kiakiolojia.
Ni kweli kwamba jamii ndogo zilizohamahama haziachi ushuda wa muda mrefu.

Lakini hata Tanzania ushuhuda wa kwanza unaanza karibu miaka 2000 iliyopita, kwa maeneo ya pwani.
 
Joseph_Mungure said:
Kwa mfano ukifuatilia Biblia utagundua kuwa maandiko mengi yamebasr eneo la mashariki ya kati. Je! Asia, Africa ukiacha na Misri na Ethiopia ambazo zipo karibu na Mashariki ya kati, pia Amerika yote hazikuwapo? Kuna Jamii kama Wa-Aztec huko Mexico na Indians ambazo zina historia ya mamilioni ya miaka alafu unaambiwa Christopher Columbus ndio aligundua bara la Amerika. Mimi nadhani ukitaka kumtawala mtu ni muhimu kumsahaulisha asili yake ndo mana Afrika tupo weak sababu hatujui tulitoka wapi, tulikuwa na knowpedge kiasi gani, na nguvu kiasi gani? Hapo ndipo mzungu alituweza na bado atatuweza hadi tutakapo kumbuka sisi ni nani? Hii inaitwa mental slavery kina Bob Marley na Burning spear na wanaharakati kibao wenye asili ya afrika wamezungumzia.
Click to expand...
Kaka unaweza kuwashtaki wakoloni kuhusu mambo mengi lakini wapi unapata picha kwamba kwa jumla walilenga kuwasahaulisha wenyeji historia yao?
Ni kweli kwamba hawakuingiza historia ya Kiafrika katika vitabu vya shule walizoanzisha; mara nyingi walitumia tu vitabu kutoka kwao na hivyo watoto wa shule katika Afrika ya Magharibi walikariri -sawa na watoto Wafaransa- matini kama "Babu zetu walikuwa Wagallia"
Ila ukiangalia leo urithi wa historia ya Kiafrika - ni pia wakoloni ambao walikusanya habari nyingi na kuyaweka katika vitabu - mara nyingi kwa makosa kwa sababu hawakuelewa sawa utamaduni.
Tatizo naona zaidi pale ambako watu waliamini yale yaliyofundishwa kama "ukweli" na kutaka kuuiga badala ya kupima habari zote na kuamua wachukue nini. Unachoita "mental slavery" ni hali ya kujipakia mwenyewe.

Angalau Watanzania wana nafasi kuangalia historia yao katika lugha ya wenyewe badala ya lugha ya kigeni- Watakapojitahidi kusoma tutaona matokeo mazuri!
 
Ndugu zetu walishafanya makosa makubwa huko nyuma,na sisi bado tunaendelea kufanya hayo makosa kwa jinsi upepo ulivyo ndo basi Tena kwa maana tayar tulishakubali udhaifu na uongo mwingi kuingizwa ktk historia zetu basi kilichobaki ni kulinda hata kile kidogo tulicho nacho...leo hi sisi wenyewe tumekua ' busy' kufuatilia historia za tawala Kama za ottoman empire,Mongol empire,Roman empire nk kupitia muvi,magazeti na vitabu ilihali hatujatilia mkazo za kwetu...
 
Kama tunataka kuijua historia yote tunaweza kuipata ata ya zaidi ya miaka 2000 BC. Kwan bado mazingira yetu yanaruhusu, kikubwa nani yupo tayari ku finance mchakato mzima maana lazima itahusisha vitu kama excavations na research mbalimbali wakati huo serikali za kiafrica hazijajikita uko. Sanasana bado zinapambana na uchumi uliojaa ufisadi ubinafsi na kujilundikia mari.
 
Washirazi wa Pwani ya Afrika Mashariki
Hazina ya utamaduni wa waShirazi yawekwa wakazi


  • Makaazi yao Kilwa, Sofala, Mombasa, Malindi na Zanzibar
  • Kuoa mtoto wa shangazi
  • Uvuvi
  • Biashara
  • Adabu ya kula wakati wa chakula
  • Mhogo wa Kiwengwa kwa viazi pamoja manga na tui
  • Wali mweupe
  • Mkate wa mchele
  • N.k
Source : KTN News Kenya
 
APPROXIMATELY said:
Wakorea wana historia yao toka mwanzo wataifa lao kuwepo kipindi cha devine Jumong, wazungu hivyo hivyo wana story zao, mbona sisi waafrika hatuna hadithi zetu za mwanzo, au baada wa wazungu kututawala walichukua hadithi zetu? au wazee wetu hawakuwa na sehemu ya kuweka kumbukumbu?

sisi hadithi tulizonazo ni kutawaliwa tu hapo wazungu kuna mambo wameyaficha, pindi tukijuwa historia yetu tutafanya revolution tutawala dunia

story zao mungu mweupe shetani mweusi, hatuna historia tupo tupo tu kama mtoto yatima, wametuletea magonjwa kibao ila bado tunadunda, sisi endapo tukijua Historia zetu tuta fanya mapinduzi
Click to expand...
Historia ya Africa ilifutwa, na ilikuwa rahisi kufutwa kwakuwa hatukuwa na writing system yetu,
Sisi tulikuwa tunatunza historia Vichwani hasa mwa wazee na walikuwa wakisimulia kwa mdomo(oral tradition) so ukiua mtunza historia umeua mtiririko wa story

Nchi zote zenye writing system,pamoja na kutawaliwa bado zina historia ndefu

Mfano Ethiopia script ya lugha yao imevumbuliwa karne ya 8 mpaka 9 kabla ya yesu kuzaliwa ,wao wana historia ya miaka mingi ambayo inarudi mpaka kipindi cha kina mfalme solomon na queen makeda
 
APPROXIMATELY said:
Wakorea wana historia yao toka mwanzo wataifa lao kuwepo kipindi cha devine Jumong, wazungu hivyo hivyo wana story zao, mbona sisi waafrika hatuna hadithi zetu za mwanzo, au baada wa wazungu kututawala walichukua hadithi zetu? au wazee wetu hawakuwa na sehemu ya kuweka kumbukumbu?

sisi hadithi tulizonazo ni kutawaliwa tu hapo wazungu kuna mambo wameyaficha, pindi tukijuwa historia yetu tutafanya revolution tutawala dunia

story zao mungu mweupe shetani mweusi, hatuna historia tupo tupo tu kama mtoto yatima, wametuletea magonjwa kibao ila bado tunadunda, sisi endapo tukijua Historia zetu tuta fanya mapinduz
Click to expand...
Kila kiumbe kina historia. Ila sema historia yetu iliuawa na hawa wavamizi walipotutawala. Hata hivyo,ushahidi unaonyesha–––tena kwa kupigiwa chapuo na wazungu–––kuwa mtu wa kwanza duniani alianza kuishi Afrika. pia hata huo ustaarabu na sayansi vinavyosifika kuwa vya mwanzo vilianzia Misri ikiwa chini ya Wanubi ambapo pia wanasifika kuwa waliomtengeneze Mungu mmoja ambaye waarabu walimwita Allah huku wajomba zao wayahudi wa kweli na siyo hawa matapeli wa kizungun wanaokalia israel sasa wakimuita Yehuwah. Ni suala la kutatifi. Utagundua kuwa Waafrika wana historia sawa na wengine.
 
Kuanzia Jumamosi, July 19, 1692 mjini Salem, Massachusetts, watu 19 walinyongwa baada ya kupatikana na hatia ya jinai ya uchawi. Wa kwanza kunyongwa walikuwa wanawake watano:

Sarah Good
Elizabeth Howe
Susannah Martin
Rebecca Nurse
Sarah Wildes

Mwezi mmoja baadae mhukumiwa mwingine, bwana George Burrough, alipandishwa mtini kunyongwa lakini alipotakiwa kusema neno la mwisho alipinga vikali tuhuma zake za uchawi na akawaongoza wananchi kusali sala ya Bwana. Kwa sababu jamii iliamini wachawi huwa hawasali Mungu kitendo cha bwana Burrough kuongoza sala kiliwagusa na kuwatoa machozi wananchi wengi japo walishindwa kuzuia kunyongwa kwake.

-----------------------------------------------------------------------------------------

Sisi tuna kumbukumbu ya majina ya wachawi walionyongwa mwaka juzi ???? Kwa sababu miaka mia tatu baadae jamii itakuja kujuta na kujiona wajinga kwa kuua mtu kwa tuhuma za uchawi, kitu ambacho hakipo japo kwa sasa jamii yetu ya kijima na kijinga inaamini.
 
You must log in or register to reply here.

Similar Discussions

Back
Top Bottom
Forums
New posts
Post thread
Back