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Arts And Tanzania People Term Paper

¶ … Art to Tanzania people Art and Culture of Tanzania

Every country has its special features and certain interesting facts about its history and legacy. This paper discusses the unique country of Tanzania in the continent of Africa and describes its culture and history. Certain doctrine point out that the mainland of Tanzania was named by a British civil servant in the year 1920 and its name was derived from the words in Swahili language, tanga, meaning sail and nyika, meaning bright and plain. This place had a very intriguing and unique culture of people, who had a long history of existence and had preserved their identity. This place came to be known as a Tanganyika Territory, which was formerly a German East African area. Later in 1964, Tanganyika was joined with Zanzibar, which was an archipelago of islands off the coast of eastern Africa1.

This was a very interesting development in terms of a land that held the interests of almost all major colonial power, because of the strategic location of this area1. This served as a perfect harbor and halt on the route from Europe to Southern and South-East Asia, where regular trade was carried on between the European colonial powers and Asian countries. By the 19th century, almost every country in Asia was under colonial or capitalist control, and there were crucial ties taking place in the area. Tanzania posed as a perfect location for harboring and related activities. Apart from geographical location, there were other reasons which interested European and Western powers towards, Tanzania, which were associated with the native population of Tanzania, and the fact that these people were very loyal in nature in general1. They were known to make perfect subjects and had always served their rulers and political superiors, which is acknowledged as a perfect trait among subjects of any region. The art, literature and music of this region are very rich in terms of cultural implications and values, and it has a long legacy of its own. Although in modern time, after it being established as an independent nation and being declared as the United Republic of Tanzania, there are many changes, which have taken place, which has shaped this nation2.

National Identity of Tanzania

There are certain very interesting facts, which are associated with the national identity and existence in Tanzania, which makes it very different from the other African countries. The national dialect or language, which is chosen in the republic, is that of Swahili. It is a very strong integrating factor, which provides a common sense of belonging to major part of its population, and it is chosen to be spoken in more than half of its schools and other educational institutes. One of the major factors, which differentiate the Tanzanian culture and population from other African countries, is that almost 83% of its population is literate and aware of educational benefits2. This is a very strong and important factor in any nation's culture, which reflects the true identity of its people and the general populace. In such a rich culture and educationally strong social setup, the meaning of family and family hood is understood and promoted among the general masses. Although the socialist setup and general sense of socialism has been a total failure, and has resulted in a difficult social setup of the country and population of the villages is leading a very different life, as compared to other places1.

Inside the outskirts of Tanzania, there exist together around 120 ethnic gatherings talking dialects speaking to every one of the four noteworthy African dialects bunches. These incorporate Khoisan, or "click" speaking seeker gatherers, Nilotic-talking, for example, the Maasai, Cushitic speakers, and Bantu speakers; the last prevail regarding populace size. The biggest ethnic gatherings incorporate the Sukuma, and the Chagga, Haya, and Nyamwezi with in excess of one million each. There are sure exceptionally fascinating truths, which are connected with the national personality and presence in Tanzania, which makes it altogether different from the other African nations. The national vernacular or dialect, which is picked in the Republic, is that of Swahili. This is an exceptionally solid and critical element in any country's society, which reflects the genuine character of its kin and general masses. In such a rich society and instructively solid social setup, the significance of social belonging is comprehended and advanced among the general masses. Despite the fact that the communist setup and general feeling of communism has been an aggregate disappointment, and has brought about a troublesome social...

There is a rich culture which relates to the artistic and cultural factors, which has influenced further development of these art forms into a modern era. The interaction of Tanzania as a country with other colonial and capitalist powers has resulted in a fusion of art and other humanities, which is now evidently reflected from its general society. There is a vast variety of language that is spoken in its regions, which is mostly a collaboration of other local languages. Dialects in Tanzania are more spoken than carried in written form. This is due to the implications of the language and certain restrictions. It provides much tourist opportunity by offering a variety of experiences and interactions with the art, culture, and heritage of natives and tribes1.
In terms of art, there is a lot to explore in terms of paintings, pottery and other forms of rural artifacts, which entice and mesmerize the masses. It is clear from the history and social legacy of the native populace that Tanzania has the rich social and masterful affiliations. There is a rich society which identifies with the esthetic and social components, which has affected further improvement of these artistic expressions into advanced time. The cooperation of Tanzania as a nation with other pilgrim and industrialist powers has brought about a combination of workmanship and different humanities, which is presently obviously reflected from its general society. There is a limitless mixture of dialect that is talked in its districts, which is a joint effort of other nearby dialects. Music in Tanzania is a fusion of various backgrounds and genres, which are implied and interacted that makes it very rich in taste. This is because of the ramifications of the dialect and certain confinements. It gives a great deal of the traveler's opportunities by offering a mixture of encounters and connections with the craftsmanship, society and legacy of locals and tribes. Regarding craftsmanship, there is a great deal to investigate as far as works of art, earthenware and different types of rustic antiques, which tempt and hypnotize the masses1.

Economic difficulties, the problem of "promotion," and artists' strategies for success

In any culture, there is much stress which is laid to the promotion and development of music and literary functions of its society. Many countries and societies are known for their promotion and development activities in terms of music and culture related to the same. Music is a very diverse function, and it provides much basis for interaction and economic development at the same time. There are many economic implications, which are associated with the music industry of an organization, which makes it suffer from related implications1.

In Tanzania, there is a very negative development in the area of music industry, as there are certain social and political implications, which have affected the Bongo Flava artists, and has not given equal opportunities for them to develop and manage. In many countries and economies, music is considered as one of the most prominent function, which allows the government to reach out to its general masses. There is a certain flavor of propaganda, which is associated with music, and this allows the linkage between the general populace and the administration to exist. Governments allow a large space in the music and art portal to existing, which also helps in developing a prosperous emotion among the general society. However, this function has been missing from the Tanzanian society, and music industry is not in a very prosperous or developing phase, which makes it vulnerable and fragile in its sense. In general sense, there is much corruption and bribery involved in this direction, and certain music companies and other such associations have access control over this aspect3. Music artists have to struggle a lot in order to gain some recognition, and this practice is very tiresome and many majorities of artists cannot make it large. There are many restrictions that are imposed on the development of these artists and the channels through which one artist has to pass in order to get noticed is not very compromising. In any society, there is a considerable measure of anxiety that is laid to the advancement and improvement of music and artistic capacities of its general public. Numerous nations and social orders are known…

Sources used in this document:
Bibliography

1. Countries and their culture. n.d. http://www.everyculture.com/Sa-Th/Tanzania.html (accessed January 17, 2015).

2. Jahn, Reuster Uta, and Gabriel Hacke. The Bongo Flava industry in Tanzania and artists' strategies for success. Germany: Johannes Gutenberg University, 2011. Retrieved from: http://www.ifeas.uni-mainz.de/Dateien/AP127.pdf

3. Caves, Richard E., Creative Industries. Contracts between Art and Commerce. Cambridge, Mass.:Harvard University Press, 2000.

4. Vavrus, F. (2004). The referential web: Externalization beyond education in Tanzania. In G. Steiner-Khamsi (Ed.), The Global Politics of Educational Borrowing and Lending, New York: Teachers College Press
7. The United Republic of Tanzania (October, 2002), Poverty Reduction Strategy Paper (PRSP), Retrieved on September 7, 2006 from http://poverty.worldbank.org/files/TanzaniaPRSP.pdf
8. Jules, Tavis D. The Poverty Reduction Strategy Paper and Tanzania's Next Generation. Department of International & Transcultural Studies, n.d. Retrieved from: http://www.tc.columbia.edu/sie/journal/Volume_4/Jules_Website%20Final.pdf
15. World Bank. (1998) 'Cultural Heritage and Development Action Network'. In Working groupmeeting 26-27 Washington D.C., edited. Accessed 17/8/2009.http://icom.museum/bank.html.
16. Ruyembe, Charles E.M. "Restructuring arts and cultural funding in Tanzania: expectations and impasses." International Journal of Social Sciences, 2014: 672-688. Retrieved from: http://eprints.qut.edu.au/73369/4/73369.pdf
17. E, Jengo. "Towards a National Cultural Policy for the Promotion of Art in Tanzania." n.d. Retrieved from: http://archive.lib.msu.edu/DMC/African%20Journals/pdfs/Utafiti/vol7no1/aejp007001002.pdf
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