Texts, Voices and Tapes

Matatu, vol. 51, pp. 139–168

Abstract

Abstract In this paper, I seek to investigate the manifold relationships between traditional and contemporary, oral and written Swahili poetry—in the utendi and mashairi forms—and its recitation in terms of the following considerations: how have advances in technology changed the production, transmission and reception of Swahili Islamic poetry? To what extent do writing and orality coexist in a recited text? What is the nature of performer identity formation within a “discourse network” of artists—the composer (mtungaji), reader (msomaji), and singer (mwimbaji)—who, in Goffman’s words, play “participation roles” and appropriate poetry belonging to other living poets or to their own (sometimes anonymous) ancestors? In an attempt to answer these questions, I provide examples of performers and their performative craft.

Authors 1

1. Annachiara Raia corresponding Aachen

   Leiden University · African Studies Centre

   Affiliation as printed

   Leiden University African Studies Center Leiden The Netherlands Leiden

   Leiden University