Swahili Hip-Hop Family Club - the fam!

Tafsiri ya Kiingereza Kwa Wanachama wa kote Duniani 1.    (a) WHAT IS SWAHILI Swahili plural of Swa·hi·li (Noun) Noun:   1.       A Bantu language widely used as a lingua franca in East Africa and having official status in several countries. 2.     A member of people from Tanzania, Kenya, Zanzibar nearby coastal regions, descendants of the original speakers of Swahili.   Bottom of Form Swahili is a Bantu language spoken throughout Eastern Africa by over 40 million people. It is related to other Bantu languages such as Lusoga, Zulu, Xhosa, and Ngumba, though is often quite different from these languages. Although Swahili is spoken by approximately 25 million people as a native language, it has become something of a lingua franca in Africa, allowing speakers of many diverse Bantu languages to converse. It is for this reason that the number of overall speakers has swelled to more than 40 million people, an enormous amount for a native African language in a continent with myriad popular tribal languages. Swahili has official language status in Kenya, Tanzania, and Uganda. These three countries are all situated on the north-east coast of Africa, on the edge of the Indian Ocean. It is also widely spoken in neighboring Somalia, Mozambique, Malawi, Burundi, and Rwanda. Not so very long ago, and to this day in some circles, Swahili was held to be an amalgam language formed from Arabic immersing in local languages. This theory is all but entirely discredited in the mainstream linguistic community, as there is ample evidence that the Swahili people of eastern Africa have been speaking a language roughly analogous to modern Swahili for nearly a thousand years. Additionally, the structure and many words of Swahili share such close similarities to other Bantu languages that a genetic connection is a near certainty. Swahili utilizes an astonishing amount of loanwords, however, due to the large traffic of Arabic-speaking traders for extended periods of time, as well as speakers of Indian languages, Persian, and in the modern age, English. While much is often made of this prevalence of loanwords – particularly from the Arabic – the number of loanwords is fairly comparable to English’s use of Latin and Greek. Modern Swahili is written using the Latin script – a change that occurred during the European occupation of the east African coast during the 19th century. Early Swahili likely had no written script, and in the 18th century, until the emergence of the Latin script in the 19th century, Arabic script was used to write Swahili. Learning Swahili can be very difficult for native English speakers with little experience of languages drastically different from English. Its use of a wide group of classes for words, which are denoted by prefixes such as m- and n-, can be a difficult thing for some English speakers to wrap their heads around. While essentially the same as the gender system used by some European languages, the Swahili class system is both larger than what most Romance speakers are used to and less arbitrary in its assignment. Swahili also makes use of some phonetic constructions that can be difficult for English speakers to use naturally. An initial m- or n-, for example, when followed by another consonant, forms a sound that has no real corollary at the beginning of English words. The Swahili word for "banana," for example, ndizi, has a sound that can take some getting used to for English or Romance speakers. One popular appearance of Swahili in the English-speaking world was in Disney’s movie The Lion King. The Swahili word for "lion," simba, is used as the name of the lead character, a lion. The popular catchphrase from the movie, hakuna matata is also a Swahili phrase, meaning roughly “no worries.”so you could how big the family is..everyone whose connected to this movent is a swahili hip hop family member we say KARIBU. 1.    (b) WHAT IS HIP HOP ?   Hip-hop is a cultural movement, best known for its impact on music in the form of the musical genre of the same name. It has its origins in the Bronx, in New York City, during the 1970s, mostly among African Americans, with some influence from the Latin American population of the area as well. The culture of hip-hop has gone from being a relatively underground style to being a major style throughout the world, and it has been commercialized and popularized, especially in the United States. The four traditional pillars of hip-hop are: DJing, rapping, breakdancing, and graffiti art. Five additional pillars are sometimes added: hip-hop fashion beat boxing, hip-hop slang, street knowledge, and street entrepreneurship. Hip-hop music incorporates a number of iconic elements, most notably DJing and rapping, along with things like beat boxing, sampling, and juggling beats on turntables. In early hip-hop music, DJs would loop portions of songs, highlighting the interest percussive patterns found in them, to create their own new, emergent beats. These beats were eventually coupled with a rhyming, chanting style of singing, referred to as rapping. Beat boxing was a hip-hop movement that broke from the machine-oriented DJs, replicating their sounds and breaks with the human vocal apparatus. Early drum machines were referred to as beat boxes, and early beat boxing simply replicated these drum sounds. Later, beat boxing became a much more complex art form, with the human vocal system mimicking even the most complex of instruments, and often even layering beats over one another by using a form of overtone singing. Some later beat boxers, notably Rahzel of the Roots, even sing while beat boxing. Along with the musical scene of hip-hop, the culture also originated its own form of dancing, called breakdancing. It began in the South Bronx, along with the music of hip-hop, and is sometimes called Bboying. Breakdancing involves a frenetic, but incredibly controlled, style of dancing that highlights strength and dynamic movement of the body, matching the precise beats lay out by DJs or beat boxers. Often breakdancing is done in a battle format, with various competitors facing off by showing their skills and trying to one-up each other. Graffiti art became an important cornerstone of the hip-hop scene, as well, helping to incorporate elements of the culture in a visually-stimulating way. Although graffiti had existed since time immemorial, and was widely spread in the United States among activists and gangs during the 1960s, hip-hop culture took hold of it and redefined it to create a visually distinctive style, most notably the bubble letters and wildstyle of writing now associated with the form. Graffiti art is in many ways viewed as the visual manifestation of hip-hop, in the same way breakdancing can be viewed as its physical manifestation. In the past decade, hip-hop has become ever more commercialized, while at the same time battling to keep its free and independent spirit. While mainstream ad campaigns appropriate aspects of hip-hop, major rappers become multi-millionaires, and aspects of hip-hop slang trickle down into a society unaware of their origins, a constant revitalization occurs at the grassroots level.  The exporting of the hip-hop scene around the world has led to a new global hip-hop, incorporating traditional musical arrangements and native languages into the hip-hop forms. At the same time, hip-hop in the United States continues to innovate at the street level, constantly rejecting and challenging a consumer culture that more and more accepts it. 1.     HIP HOP IN TANZANIA: During the early days of old Tanganyika (TANZANIA) there was features that represent the hip hop elements, the five elements and proofs as follows: 1.     GRAFFITI -The drawings of art at Amboni caves at Tanga. The artefacts indicates true element of hip-hop. 2.     M.C - Look at the Masai tribe creates a cypher (which means a round circle of strongmen) bragging about who is the strongest warrior in their community. 3.     DJ -This is an individual playing the drum which promotes African culture e.g. -Sindimba of Makonde tribe southern Tanzania. 4.     B-BOY -This is a person who dances to the vibe which is produced by the Drummer man. E.g. Digo Dancing Mdumange of Tanga. 5.     STREET GEAR -The various traditional clothing so as to have a distinctive identity, this is wearing clothes in order to differentiate you from others .e g HEHE differ from CHAGA and POGOLO differ from LUGULU etc. 2.TANZANIA HIP HOP PROFILE: AS FOLLOWS: Tanzania became a host to one of Hip hop’s biggest events in Africa called “SPRITE M.C AFRICA” under SPONSORSHIP of one the biggest TV Stations in Africa CHANNEL O and SPRITE, was held at chang’ombe TCC club grounds in DAR ES SALAAM. This helped unleash many young talents in 2007. It was a freestyle battle that featured a lot of new artists on the underground seeking for recognition and mainstream’s attention. It can be remembered as a breakthrough to some but it is best said as it was a foundation to hip hop culture in Tanzania. A helper to the helpless, life saviour of the dying, a glimmer of hope to the hopeless all this can help describe what happened during that period of time. By giving momentum and pulse to a failing life support placed on the poor, it is within this time that witnessed a group of youth coming together to form a way they could earn themselves some sort of livelihood.  It is possible for any of these people to acquire the respect they deserve and need like any other human being most of all a chance to showcase their talent and lead a better life. It also introduced a free style dance called “ FREESTYLE STREET BATTLE DANCE “sponsored by CHANNEL O & SPRITE in 2008 at SLEEPWAY COMPLEX It’s also breed new dancers on the underground seeking for recognition and mainstream’s attention. It can also be remembered. In 2009 there was a GRAFFITI event at the British Council a movement called WAPI! Every last Saturday of a month, many of individuals made a name and a living and gained respect through the event. The African spears emerge the internal culture through the heart of all followers.

Tafsiri ya Kiingereza Kwa Wanachama wa kote Duniani 1.    (a) WHAT IS SWAHILI Swahili plural of Swa·hi·li (Noun) Noun:   1.       A Bantu language widely used as a lingua franca in East Africa and having official status in several countries. 2.     A member of people from Tanzania, Kenya, Zanzibar nearby coastal regions, descendants of the original speakers of Swahili.   Bottom of Form Swahili is a Bantu language spoken throughout Eastern Africa by over 40 million people. It is related to other Bantu languages such as Lusoga, Zulu, Xhosa, and Ngumba, though is often quite different from these languages. Although Swahili is spoken by approximately 25 million people as a native language, it has become something of a lingua franca in Africa, allowing speakers of many diverse Bantu languages to converse. It is for this reason that the number of overall speakers has swelled to more than 40 million people, an enormous amount for a native African language in a continent with myriad popular tribal languages. Swahili has official language status in Kenya, Tanzania, and Uganda. These three countries are all situated on the north-east coast of Africa, on the edge of the Indian Ocean. It is also widely spoken in neighboring Somalia, Mozambique, Malawi, Burundi, and Rwanda. Not so very long ago, and to this day in some circles, Swahili was held to be an amalgam language formed from Arabic immersing in local languages. This theory is all but entirely discredited in the mainstream linguistic community, as there is ample evidence that the Swahili people of eastern Africa have been speaking a language roughly analogous to modern Swahili for nearly a thousand years. Additionally, the structure and many words of Swahili share such close similarities to other Bantu languages that a genetic connection is a near certainty. Swahili utilizes an astonishing amount of loanwords, however, due to the large traffic of Arabic-speaking traders for extended periods of time, as well as speakers of Indian languages, Persian, and in the modern age, English. While much is often made of this prevalence of loanwords – particularly from the Arabic – the number of loanwords is fairly comparable to English’s use of Latin and Greek. Modern Swahili is written using the Latin script – a change that occurred during the European occupation of the east African coast during the 19th century. Early Swahili likely had no written script, and in the 18th century, until the emergence of the Latin script in the 19th century, Arabic script was used to write Swahili. Learning Swahili can be very difficult for native English speakers with little experience of languages drastically different from English. Its use of a wide group of classes for words, which are denoted by prefixes such as m- and n-, can be a difficult thing for some English speakers to wrap their heads around. While essentially the same as the gender system used by some European languages, the Swahili class system is both larger than what most Romance speakers are used to and less arbitrary in its assignment. Swahili also makes use of some phonetic constructions that can be difficult for English speakers to use naturally. An initial m- or n-, for example, when followed by another consonant, forms a sound that has no real corollary at the beginning of English words. The Swahili word for "banana," for example, ndizi, has a sound that can take some getting used to for English or Romance speakers. One popular appearance of Swahili in the English-speaking world was in Disney’s movie The Lion King. The Swahili word for "lion," simba, is used as the name of the lead character, a lion. The popular catchphrase from the movie, hakuna matata is also a Swahili phrase, meaning roughly “no worries.”so you could how big the family is..everyone whose connected to this movent is a swahili hip hop family member we say KARIBU. 1.    (b) WHAT IS HIP HOP ?   Hip-hop is a cultural movement, best known for its impact on music in the form of the musical genre of the same name. It has its origins in the Bronx, in New York City, during the 1970s, mostly among African Americans, with some influence from the Latin American population of the area as well. The culture of hip-hop has gone from being a relatively underground style to being a major style throughout the world, and it has been commercialized and popularized, especially in the United States. The four traditional pillars of hip-hop are: DJing, rapping, breakdancing, and graffiti art. Five additional pillars are sometimes added: hip-hop fashion beat boxing, hip-hop slang, street knowledge, and street entrepreneurship. Hip-hop music incorporates a number of iconic elements, most notably DJing and rapping, along with things like beat boxing, sampling, and juggling beats on turntables. In early hip-hop music, DJs would loop portions of songs, highlighting the interest percussive patterns found in them, to create their own new, emergent beats. These beats were eventually coupled with a rhyming, chanting style of singing, referred to as rapping. Beat boxing was a hip-hop movement that broke from the machine-oriented DJs, replicating their sounds and breaks with the human vocal apparatus. Early drum machines were referred to as beat boxes, and early beat boxing simply replicated these drum sounds. Later, beat boxing became a much more complex art form, with the human vocal system mimicking even the most complex of instruments, and often even layering beats over one another by using a form of overtone singing. Some later beat boxers, notably Rahzel of the Roots, even sing while beat boxing. Along with the musical scene of hip-hop, the culture also originated its own form of dancing, called breakdancing. It began in the South Bronx, along with the music of hip-hop, and is sometimes called Bboying. Breakdancing involves a frenetic, but incredibly controlled, style of dancing that highlights strength and dynamic movement of the body, matching the precise beats lay out by DJs or beat boxers. Often breakdancing is done in a battle format, with various competitors facing off by showing their skills and trying to one-up each other. Graffiti art became an important cornerstone of the hip-hop scene, as well, helping to incorporate elements of the culture in a visually-stimulating way. Although graffiti had existed since time immemorial, and was widely spread in the United States among activists and gangs during the 1960s, hip-hop culture took hold of it and redefined it to create a visually distinctive style, most notably the bubble letters and wildstyle of writing now associated with the form. Graffiti art is in many ways viewed as the visual manifestation of hip-hop, in the same way breakdancing can be viewed as its physical manifestation. In the past decade, hip-hop has become ever more commercialized, while at the same time battling to keep its free and independent spirit. While mainstream ad campaigns appropriate aspects of hip-hop, major rappers become multi-millionaires, and aspects of hip-hop slang trickle down into a society unaware of their origins, a constant revitalization occurs at the grassroots level.  The exporting of the hip-hop scene around the world has led to a new global hip-hop, incorporating traditional musical arrangements and native languages into the hip-hop forms. At the same time, hip-hop in the United States continues to innovate at the street level, constantly rejecting and challenging a consumer culture that more and more accepts it. 1.     HIP HOP IN TANZANIA: During the early days of old Tanganyika (TANZANIA) there was features that represent the hip hop elements, the five elements and proofs as follows: 1.     GRAFFITI -The drawings of art at Amboni caves at Tanga. The artefacts indicates true element of hip-hop. 2.     M.C - Look at the Masai tribe creates a cypher (which means a round circle of strongmen) bragging about who is the strongest warrior in their community. 3.     DJ -This is an individual playing the drum which promotes African culture e.g. -Sindimba of Makonde tribe southern Tanzania. 4.     B-BOY -This is a person who dances to the vibe which is produced by the Drummer man. E.g. Digo Dancing Mdumange of Tanga. 5.     STREET GEAR -The various traditional clothing so as to have a distinctive identity, this is wearing clothes in order to differentiate you from others .e g HEHE differ from CHAGA and POGOLO differ from LUGULU etc. 2.TANZANIA HIP HOP PROFILE: AS FOLLOWS: Tanzania became a host to one of Hip hop’s biggest events in Africa called “SPRITE M.C AFRICA” under SPONSORSHIP of one the biggest TV Stations in Africa CHANNEL O and SPRITE, was held at chang’ombe TCC club grounds in DAR ES SALAAM. This helped unleash many young talents in 2007. It was a freestyle battle that featured a lot of new artists on the underground seeking for recognition and mainstream’s attention. It can be remembered as a breakthrough to some but it is best said as it was a foundation to hip hop culture in Tanzania. A helper to the helpless, life saviour of the dying, a glimmer of hope to the hopeless all this can help describe what happened during that period of time. By giving momentum and pulse to a failing life support placed on the poor, it is within this time that witnessed a group of youth coming together to form a way they could earn themselves some sort of livelihood.  It is possible for any of these people to acquire the respect they deserve and need like any other human being most of all a chance to showcase their talent and lead a better life. It also introduced a free style dance called “ FREESTYLE STREET BATTLE DANCE “sponsored by CHANNEL O & SPRITE in 2008 at SLEEPWAY COMPLEX It’s also breed new dancers on the underground seeking for recognition and mainstream’s attention. It can also be remembered. In 2009 there was a GRAFFITI event at the British Council a movement called WAPI! Every last Saturday of a month, many of individuals made a name and a living and gained respect through the event. The African spears emerge the internal culture through the heart of all followers.

Tafsiri ya Kiingereza Kwa Wanachama wa kote Duniani

1.    (a) WHAT IS SWAHILI



Swahili plural of Swa·hi·li (Noun)


Noun:
 


1.       A Bantu language widely used as a lingua franca in East Africa and having official status in several countries.

2.     A member of people from Tanzania, Kenya, Zanzibar nearby coastal regions, descendants of the original speakers of Swahili.
 


Bottom of Form

Swahili is a Bantu language spoken throughout Eastern Africa by over 40 million people. It is related to other Bantu languages such as Lusoga, Zulu, Xhosa, and Ngumba, though is often quite different from these languages. Although Swahili is spoken by approximately 25 million people as a native language, it has become something of a lingua franca in Africa, allowing speakers of many diverse Bantu languages to converse. It is for this reason that the number of overall speakers has swelled to more than 40 million people, an enormous amount for a native African language in a continent with myriad popular tribal languages.

Swahili has official language status in Kenya, Tanzania, and Uganda. These three countries are all situated on the north-east coast of Africa, on the edge of the Indian Ocean. It is also widely spoken in neighboring Somalia, Mozambique, Malawi, Burundi, and Rwanda.

Not so very long ago, and to this day in some circles, Swahili was held to be an amalgam language formed from Arabic immersing in local languages. This theory is all but entirely discredited in the mainstream linguistic community, as there is ample evidence that the Swahili people of eastern Africa have been speaking a language roughly analogous to modern Swahili for nearly a thousand years. Additionally, the structure and many words of Swahili share such close similarities to other Bantu languages that a genetic connection is a near certainty.

Swahili utilizes an astonishing amount of loanwords, however, due to the large traffic of Arabic-speaking traders for extended periods of time, as well as speakers of Indian languages, Persian, and in the modern age, English. While much is often made of this prevalence of loanwords – particularly from the Arabic – the number of loanwords is fairly comparable to English’s use of Latin and Greek.

Modern Swahili is written using the Latin script – a change that occurred during the European occupation of the east African coast during the 19th century. Early Swahili likely had no written script, and in the 18th century, until the emergence of the Latin script in the 19th century, Arabic script was used to write Swahili.

Learning Swahili can be very difficult for native English speakers with little experience of languages drastically different from English. Its use of a wide group of classes for words, which are denoted by prefixes such as m- and n-, can be a difficult thing for some English speakers to wrap their heads around. While essentially the same as the gender system used by some European languages, the Swahili class system is both larger than what most Romance speakers are used to and less arbitrary in its assignment.

Swahili also makes use of some phonetic constructions that can be difficult for English speakers to use naturally. An initial m- or n-, for example, when followed by another consonant, forms a sound that has no real corollary at the beginning of English words. The Swahili word for "banana," for example, ndizi, has a sound that can take some getting used to for English or Romance speakers.

One popular appearance of Swahili in the English-speaking world was in Disney’s movie The Lion King. The Swahili word for "lion," simba, is used as the name of the lead character, a lion. The popular catchphrase from the movie, hakuna matata is also a Swahili phrase, meaning roughly “no worries.”so you could how big the family is..everyone whose connected to this movent is a swahili hip hop family member we say KARIBU.



1.    (b) WHAT IS HIP HOP ?

 

Hip-hop is a cultural movement, best known for its impact on music in the form of the musical genre of the same name. It has its origins in the Bronx, in New York City, during the 1970s, mostly among African Americans, with some influence from the Latin American population of the area as well. The culture of hip-hop has gone from being a relatively underground style to being a major style throughout the world, and it has been commercialized and popularized, especially in the United States. The four traditional pillars of hip-hop are: DJing, rapping, breakdancing, and graffiti art. Five additional pillars are sometimes added: hip-hop fashion beat boxing, hip-hop slang, street knowledge, and street entrepreneurship.

Hip-hop music incorporates a number of iconic elements, most notably DJing and rapping, along with things like beat boxing, sampling, and juggling beats on turntables. In early hip-hop music, DJs would loop portions of songs, highlighting the interest percussive patterns found in them, to create their own new, emergent beats. These beats were eventually coupled with a rhyming, chanting style of singing, referred to as rapping.

Beat boxing was a hip-hop movement that broke from the machine-oriented DJs, replicating their sounds and breaks with the human vocal apparatus. Early drum machines were referred to as beat boxes, and early beat boxing simply replicated these drum sounds. Later, beat boxing became a much more complex art form, with the human vocal system mimicking even the most complex of instruments, and often even layering beats over one another by using a form of overtone singing. Some later beat boxers, notably Rahzel of the Roots, even sing while beat boxing.

Along with the musical scene of hip-hop, the culture also originated its own form of dancing, called breakdancing. It began in the South Bronx, along with the music of hip-hop, and is sometimes called Bboying. Breakdancing involves a frenetic, but incredibly controlled, style of dancing that highlights strength and dynamic movement of the body, matching the precise beats lay out by DJs or beat boxers. Often breakdancing is done in a battle format, with various competitors facing off by showing their skills and trying to one-up each other.

Graffiti art became an important cornerstone of the hip-hop scene, as well, helping to incorporate elements of the culture in a visually-stimulating way. Although graffiti had existed since time immemorial, and was widely spread in the United States among activists and gangs during the 1960s, hip-hop culture took hold of it and redefined it to create a visually distinctive style, most notably the bubble letters and wildstyle of writing now associated with the form. Graffiti art is in many ways viewed as the visual manifestation of hip-hop, in the same way breakdancing can be viewed as its physical manifestation.

In the past decade, hip-hop has become ever more commercialized, while at the same time battling to keep its free and independent spirit. While mainstream ad campaigns appropriate aspects of hip-hop, major rappers become multi-millionaires, and aspects of hip-hop slang trickle down into a society unaware of their origins, a constant revitalization occurs at the grassroots level.

 The exporting of the hip-hop scene around the world has led to a new global hip-hop, incorporating traditional musical arrangements and native languages into the hip-hop forms. At the same time, hip-hop in the United States continues to innovate at the street level, constantly rejecting and challenging a consumer culture that more and more accepts it.



1.     HIP HOP IN TANZANIA:

During the early days of old Tanganyika (TANZANIA) there was features that represent the hip hop elements, the five elements and proofs as follows:



1.     GRAFFITI -The drawings of art at Amboni caves at Tanga. The artefacts indicates true element of hip-hop.

2.     M.C - Look at the Masai tribe creates a cypher (which means a round circle of strongmen) bragging about who is the strongest warrior in their community.



3.     DJ -This is an individual playing the drum which promotes African culture e.g. -Sindimba of Makonde tribe southern Tanzania.

4.     B-BOY -This is a person who dances to the vibe which is produced by the Drummer man. E.g. Digo Dancing Mdumange of Tanga.

5.     STREET GEAR -The various traditional clothing so as to have a distinctive identity, this is wearing clothes in order to differentiate you from others .e g HEHE differ from CHAGA and POGOLO differ from LUGULU etc.





2.TANZANIA HIP HOP PROFILE:



AS FOLLOWS:



Tanzania became a host to one of Hip hop’s biggest events in Africa called “SPRITE M.C AFRICA” under SPONSORSHIP of one the biggest TV Stations in Africa CHANNEL O and SPRITE, was held at chang’ombe TCC club grounds in DAR ES SALAAM. This helped unleash many young talents in 2007.

It was a freestyle battle that featured a lot of new artists on the underground seeking for recognition and mainstream’s attention. It can be remembered as a breakthrough to some but it is best said as it was a foundation to hip hop culture in Tanzania.



A helper to the helpless, life saviour of the dying, a glimmer of hope to the hopeless all this can help describe what happened during that period of time. By giving momentum and pulse to a failing life support placed on the poor, it is within this time that witnessed a group of youth coming together to form a way they could earn themselves some sort of livelihood.



 It is possible for any of these people to acquire the respect they deserve and need like any other human being most of all a chance to showcase their talent and lead a better life.



It also introduced a free style dance called “ FREESTYLE STREET BATTLE DANCE “sponsored by CHANNEL O & SPRITE in 2008 at SLEEPWAY COMPLEX It’s also breed new dancers on the underground seeking for recognition and mainstream’s attention. It can also be remembered.



In 2009 there was a GRAFFITI event at the British Council a movement called WAPI! Every last Saturday of a month, many of individuals made a name and a living and gained respect through the event.



The African spears emerge the internal culture through the heart of all followers.