The Musical Culture of the Country of Burundi Essay Example for Free

The Musical Culture of the Country of Burundi Essay Every nation has its own culture and traditions which has been practiced by the people for many decades or centuries. Most of the cultural practices of a nation are usually passed down to the next generation. Although they are altered to fit the current generation, some parts of the culture remain intact and do not change; they are the same practices done in the past. The same is true with the cultural practices of Burundi. Amidst the various wars and conflict taking place in the country of Burundi, its culture is still upheld by those living in the rural areas. Their traditions are still largely celebrated and practiced by the people. Through the years, the world has seen Burundi as a place filled with violence and conflict. There are times when the news coming from Burundi only involves violence and improper actions of the rebels against the government and vice versa. In addition, mass killings are known to have affected many regions of the country, therefore lessening the chances for recreational activities, education, and other cultural practices to be upheld. Various refuge camps and displaced people have also been distressed by such conflicts. External Influences to the Burundian Culture Historical accounts of Burundi reveal that the country was colonized by various European nations. King Mwezi IV, the ruling leader during the 19th century, feared that his kingdom will be captured by one of the conflicting tribes in Burundi, the Tutsis. Due the King’s fear, he secured the support of Germany to protect his kingdom, instantly turning Burundi into a German colony. After a few years, the German colonizers passed the responsibility to a new European state: Belgium (Institute for Security Studies [ISS], 2005). Hence, these countries were able to influence and engrave their own norms, traditions, and beliefs on Burundians which were incorporated into the cultural practices of Burundi. Music as a Large Part of the Burundian Culture Burundians are people who enjoy arts and music. Music has been a huge part of their lives which could be observed in various types of traditional gatherings and the songs sung in these gatherings. One of these is family gatherings where â€Å"imvyino† songs are performed. Imviyino songs were known to have short refrain which has a strong beat. Such songs often incorporate spontaneous verses which are sung together with the strong beats of the music. On the other hand, â€Å"imdirimbo† song is a more downcast and serious type of music which is sung by a small group of individuals or a solo singer. â€Å"Kwishongora† is another type of song from the traditional music of Burundi that is sung only by men. It is a rhythmic song which is integrated with trills and shouts. For the females, there is also a certain type of song made for them, and it is called the â€Å"bilito† in which is a sentimental form of music (Stanford, 2007), One of the strongest characteristics of Burundi music is the â€Å"whispered singing. † This is expressed by the performer in a low or soft pitch, for it requires the musical accompaniment to be heard clearly (Stanford, 2007). Burundian Musical Instruments Most of the traditional songs of Burundi are played with specific instruments such as â€Å"inanga,† â€Å"idono,† â€Å"ikihusehama,† and â€Å"ikimbe. † The inanga is an instrument composed of six (6) to eight (8) strings which are stretched out in a wooden concave bowl. The idono is known to be the fiddle which is composed only of a single string. The ikihusehama is a musical instrument which is similar to a clarinet woodwind. Lastly, the ikimbe is the linguaphone version of the Burundians. However, the most important musical instrument used by the Burundians is the drums which is considered as a symbol of status and power (Stanford, 2007). Drums are known to be the most significant instruments in the country of Burundi. In the ancient times, drums were not only seen as a plain instrument but a sacred object which was only used for ceremonial events. The beat is one of the most essential elements of the Burundian drums. Certain drum beats are applied depending on the type of event being held, from funerals to enthronement. The beat of the drums is also the main signal that proclaims the start of the agricultural season as well as the propagation of the Soughum seeds which is an important agricultural amenity for the country (Heavenly Planet, 2008). The drums are not only significant to the events, but they are also deeply connected to nature. This strong relationship of drums and nature is evident in parts of the drum, as their names are related to fertility: â€Å"Icahi: the skin (the skin in which the mother rocks her baby); Amabere: the pegs (the breasts); Urugori: the thong stretching the skin (crown of motherhood); inda: the cylinder (the stomach); umukondo: the foot of the drum (the umbilical cord)† (Heavenly Planet, 2008, n. p. ) Royal Drummers of Burundi The Royal Drummers of Burundi is the most acknowledged performers in Burundi. The group is composed of twenty (20) individuals who perform in the most important Burundian ceremonies. Accordingly, due to the significance of the group, they also perform in various celebrations such as funerals, births, coronations, and christenings within the country. This prestigious drum group is known to also perform in various parts of the world. In addition, the Royal Drummers of Burundi is recognized as one of the most acclaimed percussion groups in the world (Smith, 2009). The group is known to be a multigenerational band; therefore, sons are taught by their fathers the art and the significance of performance and playing drums. Most of the time, different drummers switch places in order for them to have a short rest and create a constant flow of music that only stops during the end of the whole program. In addition to drumming, most of the band members are also dancers. The group performs the dances during the opening of the programs (Smith, 2009). Africatravelling. net (2000) commends the performances of the Royal Drummers of Burundi: â€Å"The Drummers of Burundi had the most captivating presence of all the acts at the festival Every moment, every wail from the players fit into the trance impact of the drummers† (n. p. ). The Royal Drummers of Burundi are known to have specific drums that they use to create a specific sound of the drums. One of the types of drums that they use is the â€Å"Ngoma† drums which are â€Å"hollowed out from the trunk of a particular tree called D’umuvugangoma (Corda Africana)† (Heavenly Planet, 2008, n. p. ). Reflection on the Music of Burundi As I have researched in various internet resources, I found out that the Burundi musical culture is not widely known to the world. There are only few resources available for those who are interested in their traditional music. Most books and articles are about the topics of human rights violations, genocides, and war in Burundi. Thus, this suggests the richness of the Burundian culture is often ignored. With the research that I have done, I realized that a single instrument could be a source of power and status. In addition, such instruments could also be a signifier of various events and elements of nature. Due to the conflicts and hostility in the state of Burundi, the international community does not pay significant attention to the rich cultural aspect of this country. However, with the ensemble of Royal Drummers of Burundi, one can say that the rich culture of this African nation lives despite all atrocities. References Africatravelling. net (2000). Bujumbura-Culture. Retrieved February 11, 2009 from http://www. africatravelling. net/burundi/bujumbura/bujumbura_culture. htm. Heavenly Planet. (2008). â€Å"Music That Inspires. † Retrieved February 11, 2009 from http://www. heavenlyplanet. com/featured/dob. html. Institute for Security Studies. (2005). Political System and History. Retrieved February 11 2009 from http://www. iss. co. za/af/profiles/burundi/politics. html. Smith, S. E. (2009). Who are the Royal Drummers of Burundi?. Wise Geek. Retrieved February 11, 2009 from http://www. wisegeek. com/who-are-the-royal-drummers-of-burundi. htm. Stanford, E. (2007). Culture of Burundi. Countries and Their Cultures. Retrieved February 11, 2009 from http://www. everyculture. com/Bo-Co/Burundi. html.

Appearance Vs. Reality Essay -- essays research papers

In Hamlet, one of Shakespeare's greatest plays, the young prince of Denmark must uncover the truth about his fathers death. Hamlet shows a play that tells the story of a young prince whose father recently died. Hamlets uncle Claudius marries his mother the queen and takes the throne. As the play is told Hamlet finds out his father was murdered by the recently crowned king. The theme that remains constant throughout the play is appearance versus reality. Things within the play appear to be true and honest but in reality are infested with evil. Many of the characters within the play hide behind a mask of falseness. Four of the main characters that hid behind this mask are Polonius, Rosencrantz, Guildenstern, and King Claudius. From behind this mask they give the impression of a person who is sincere and genuine, in reality they are plagued with lies and evil. Their appearance makes it very difficult for Hamlet to uncover the truth, because the characters hide behind their lies. Polonius, the king’s royal assistant, has a preoccupation with appearance. He always wants to keep up the appearance of a loving and caring person. Polonius appears like a man who loves and cares about his son, Laertes. Polonius speaks to his son with advice that sounds sincere but in reality it is rehearsed, hollow and without feeling. Poloniusgives his advice only to appear to be the loving, caring father. The reality is he only speaks to appear sincere as a politician, to look in front of the king good rather then actually be good: "And borrowing dulls the edge of husbandry. This above all: to thine own self be true, And it must follow, as the night the day, Thou cans’t not then be false to any man. Farewell; my blessing season this in thee!" Act 1 Polonius gives his son Laertes his blessing to go away, and then he sends a spy to follow him and keep an eye on him. This shows his lack of trust for anyone. He gives the appearance of a confident father who trusts his son to go off on his own, when in reality he lies about his trust for his son. This is made obviuos by the fact that he sends a spy to watch him. Polonius further adds to the theme of appearance verses reality by ordering Ophelia to stop seeing Hamlet. He lies to her telling her that Hamlet does not love her, he only lusts for her, in truth he has no idea whether or not Hamlet loves her. He says to her: â€Å"Ay,... ...is ,making Claudius a more deserving person to be king. As Claudius speaks in council he gives the appearance of someone who is a deserving person that should be king. Claudius is voted in as king meaning he is already approved by everyone. Claudius gives respect to his subjects giving the council the impression that he respects them. The king shows general concern for Hamlet, his nephew. These things make it very difficult to prove the truth about Claudius in the future for he has not only won the love and respect of council, But also possibly prevented a attack on Denmark (from Fortinbras) proving that he is good king that can protect the state from harm. Claudius makes it very difficult for Hamlet to prove the truth about the true nature of Claudius. Throughout the play, the characters all help to show the theme of appearance verses reality. Polonius, Rosencrantz (Guildenstern) and the king all appear to be good and honest. As Hamlet finds out, all contain lies and have hidden intentions within them. As each character is presented in the play all appear to be good and honest making it a difficult task for Hamlet to uncover the hidden truth about the nature of each character.

Business model

What has made Louis Vuitton's business model successful in the Japanese luxury market? The first step was to create a global brand and setting up a multinational corporation, but the most important point was to create an international image.Louis Vuitton in order to have success during the growth of the brand, they had used a different set of marketing strategies involving the marketing mix, and the success came because of the positioning strategies they used, the process was longer, onsidering to build an entire brand image characterized of class, luxury and elegance, defining Louis Vuitton like a fashion brand. But in the fashion world brands have to differentiate their products from the competition very well, this is why Louis Vuitton takes in consideration this important point.When they arrived to Japan, they had been following an aggressive marketing strategy, opening extravagant stores. This was possible by the integration of communication strategies and good team performance b rand. lt can be done through a combination of communication trategies and the product itself A world brand is defined as the world wide use of a name, term, symbol, design or combination of these concepts toIn a simplified table or chart, specify the opportunities and challenges for Louis Vuitton in Japan. Opportunities Challenges Adapt its strategy in the Japanese market, facing a weak economy and a shift in consumer preferences. Reducing its risky dependence on the Japanese market Fight against worldwide counterfeiting Face with the posible departure of Jacobs, their principle designer 3. How did the firm enter the Japanese market originally? 4.Explain how the brand can remain on top in an extremely competitive and changing industry. First i consider to divide in four concepts in order to explain how the brand Product: they focused on sell products with a hig quality, Place / Distribution: had stablished a strictly controlled distribution netwrok backed of an efficient structuring of the company that relied on continously increasing productiviy in design and manufacturing. Promotion / Communication: Price: 5. What are the specifics of the Japanese fashion luxury market? Business model What has made Louis Vuitton's business model successful in the Japanese luxury market? The first step was to create a global brand and setting up a multinational corporation, but the most important point was to create an international image.Louis Vuitton in order to have success during the growth of the brand, they had used a different set of marketing strategies involving the marketing mix, and the success came because of the positioning strategies they used, the process was longer, onsidering to build an entire brand image characterized of class, luxury and elegance, defining Louis Vuitton like a fashion brand. But in the fashion world brands have to differentiate their products from the competition very well, this is why Louis Vuitton takes in consideration this important point.When they arrived to Japan, they had been following an aggressive marketing strategy, opening extravagant stores. This was possible by the integration of communication strategies and good team performance b rand. lt can be done through a combination of communication trategies and the product itself A world brand is defined as the world wide use of a name, term, symbol, design or combination of these concepts toIn a simplified table or chart, specify the opportunities and challenges for Louis Vuitton in Japan. Opportunities Challenges Adapt its strategy in the Japanese market, facing a weak economy and a shift in consumer preferences. Reducing its risky dependence on the Japanese market Fight against worldwide counterfeiting Face with the posible departure of Jacobs, their principle designer 3. How did the firm enter the Japanese market originally? 4.Explain how the brand can remain on top in an extremely competitive and changing industry. First i consider to divide in four concepts in order to explain how the brand Product: they focused on sell products with a hig quality, Place / Distribution: had stablished a strictly controlled distribution netwrok backed of an efficient structuring of the company that relied on continously increasing productiviy in design and manufacturing. Promotion / Communication: Price: 5. What are the specifics of the Japanese fashion luxury market?

Frantz Fanon Biography, Books, Anti-Colonialism

Frantz Fanon (July 20, 1925–December 6, 1961) was a psychiatrist, intellectual, and revolutionary born in the French colony of Martinique. Fanon wrote about the effects of colonialism and oppression in books such as â€Å"Black Skin, White Masks† and â€Å"Wretched of the Earth.† His writings, as well as his support of the Algerian War of Independence, have influenced anti-colonial movements across the world, including in South Africa, Palestine, and the United States. Fast Facts: Frantz Fanon Known For: Psychiatrist, intellectual, and revolutionary who supported the Algerian War of Independence and wrote about the effects of colonialism and oppressionBorn: July 20, 1925 in Fort-de-France, MartiniqueDied: December 6, 1961 in Bethesda, MarylandSpouse: Josie Duble FanonChildren: Mireille Fanon-Mendes and Olivier FanonKey Publications: Wretched of the Earth, Black Skin, White Masks, A Dying ColonialismNotable Quote: â€Å"The oppressed will always believe the worst about themselves.† Early Years Frantz Fanon grew up in a middle-class family in the French colony of Martinique. His father, Casimir Fanon, worked as a customs inspector, and his mother, Elà ©anore Mà ©dà ©lice, owned a hardware store. He spent much of his youth immersed in French culture, learning about French history. During high school at Lycà ©e Schoelche, Fanon was exposed to the French movement known as Nà ©gritude. This cultural moment was started in the 1930s by black intellectuals, such as Aime Cà ©saire, living in France or French colonies in the Caribbean or Africa. Through Nà ©gritude, these intellectuals challenged French colonialism and took pride in their black identity. Cà ©saire was one of Fanon’s teachers. Learning about this movement made Fanon unsure about his place in society. He belonged to Martinique’s bourgeoisie, which promoted assimilation to French culture rather than a black-centered identity. In 1943, as World War II came to a close, Fanon left Martinique and joined the Free French forces. He won a Croix de Guerre medal after suffering a shrapnel wound to his chest. But the racial hierarchy he witnessed in the armed forces disturbed him, particularly the fact that â€Å"Africans and Arabs answered to white superiors and West Indians occupied an ambiguous middle ground,† according to the New York Times. When the war ended, Fanon studied psychiatry and medicine at the University of Lyon. On the largely black island of Martinique, Fanon had been exposed to the form of skin color bias known as colorism, but he hadn’t experienced the full force of white racism. The anti-blackness he experienced led to one of his first pieces of writing about racial oppression: â€Å"An Essay for the Disalienation of Blacks.† (The essay would later evolve into the 1952 book â€Å"Black Skin, Whites,† or â€Å"Peau Noire, Masques Blancs.†) In addition to anti-black racism, Fanon became interested in philosophies like Marxism and existentialism rather than Nà ©gritude exclusively. A Revolution in Algeria When he completed his medical studies, Fanon lived briefly in Martinique once more and then in Paris. After receiving a job offer in 1953 to serve as chief of staff in the psychiatric ward of a hospital in Algeria, Fanon relocated there. The next year, Algeria, which was colonized by the French, went to war against France in a quest for independence. At that time, about a million French nationals ruled over the exploited native population there, which totaled about nine million people. As a doctor during this time, Fanon treated both the Algerians fighting for independence and the colonial forces striving to repress them, routinely through the use of mass violence, rape, and torture. In medical school, Fanon had learned about group therapy, then a novel practice, from psychiatrist Franà §ois Tosquelles. In Algeria, Fanon used group therapy to treat his traumatized Algerian patients. The technique helped him form a bond with them. In 1956, Fanon left his job at his French-run hospital and was expelled from Algeria. He did not support the colonial forces; rather, he supported the Algerians fighting to wrest their country from French control. Rather than sit on the sidelines of the independence movement, Fanon took an active role in the freedom struggle. He lived in neighboring Tunisia helping to train nurses for the Front de Libà ©ration Nationale (FLN), the Algerians who began the war for independence. To help the movement, Fanon not only used his medical expertise but his skills as a writer. He edited the FLN’s newspaper and wrote about the war in Algeria. His writings described the goals and causes of the freedom struggle. In essay collections like 1959’s â€Å"L’An Cinq, de la Rà ©volution Algà ©rienne,† since renamed â€Å"A Dying Colonialism,† Fanon explained how the oppressed class in Algeria managed to ignite a revolution. In the independent government Algeria formed during the war, Fanon served as ambassador to Ghana and traveled around the vast African continent, which helped him get supplies to the FLN forces. After traveling from Mali to the Algerian border in 1960, Fanon fell gravely ill. He learned leukemia was the cause. He traveled to the United States for medical treatment. As his medical condition worsened, Fanon continued to write, penning his most acclaimed work,  Ã¢â‚¬Å"Les Damnà ©s de la Terre† (â€Å"Wretched of the Earth†). The book makes a compelling case against colonialism and for the humanity of the oppressed. Fanon died on Dec. 6, 1961, at age 36. He left behind a wife, Josie, and two children, Olivier and Mireille. Even on his deathbed, he pondered the plight of the oppressed fighting against colonialist and imperialist forces around the world. â€Å"Wretched of the Earth† was published shortly after his death. He was buried in a forest by the Algeria-Tunisia border. Algeria won independence from France the following year. An Algerian street, school, and hospital bear Fanon’s name. Controversies and Legacy The writings of Fanon have influenced a wide range of activists and intellectuals. As the black consciousness movement gained momentum in the 1960s and ’70s, the Black Panther Party turned to his work for inspiration, as did anti-apartheid activists in South Africa. â€Å"Wretched of the Earth† is considered one of the primary works that led to the creation of critical race studies. While Fanon’s ideas have been praised, they have also faced criticism, particularly the idea that he advocated violence. Rhodes University Professor Richard Pithouse has called this a misrepresentation: â€Å"People who knew Fanon well...insisted that, outside of his life as a soldier, Fanon was not a violent man, that even in war, he detested violence and that, in Cà ©saire’s words, ‘his revolt was ethical and his approach motivated by generosity.’† Through the Frantz Fanon Foundation, Fanons work lives on. His daughter Mireille Fanon-Mendes serves as president of the foundation, which advocates for reparations for the descendants of enslaved Africans and supports the Palestinian Independence Movement. Sources â€Å"Why Fanon continues to resonate more than half a century after Algeria’s independence.† The Conversation, 5 July, 2015.Pithouse, Richard. â€Å"Violence: What Fanon really said.† 8 April, 2016.Shatz, Adam. â€Å"The Doctor Prescribed Violence.† The New York times, 2 September, 2001.â€Å"Nà ©gritude.† Schomburg Center for Research in Black Culture, 2011.