Showing items 261 - 280 of 456

Your selections:

My hope is in you

- Youssu Ndour, Viviane (performed by), Adrian Gurvitz, Maribeth Derry, Youssou N'Dour (written by), Dominic Miller, Kamil Rustan (acoustic guitar), Kamil Rustan (electric guitar), Pino Palladino (bass), Paul Mirkovitch (keyboards), George Acogny (arranger, keyboards), Tracey Amos (backing vocals), Jololi

N'gotolen

- Rokia Traore (author, composer, arranger, interpreter, lead singer), Adama Diarra (balafon), Toumani Diabate (kora), Andra Kouyate (N'Goni), Mamah Diabate (N'Goni Ba), Label Bleu

Na gueneu metti

- Didier Sourou Awadi aka DJ Awadi (performer, author), Amadou Barry aka Doug E. Tee, Duggy Tee (performer, author), Palm Tree Enter/Africa with P.B.S. Production

Nafi Yem

- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000

Namibian workers organise

- COSATU

  • Authors: COSATU
  • Date: 2000
  • Subjects: COSATU
  • Language: English
  • Type: text
  • Identifier: http://hdl.handle.net/10962/139645 , vital:37762
  • Description: In 1987, long before Namibian independence was even on the agenda, the Congress of South African Trade Unions (COSATU) and the National Union of Namibian Workers (NUNW) decided to produce a joint book on the Namibian trade union movement. At that stage the Namibian trade unions had just begun to assert themselves. The idea of the book was to provide information useful for both Namibian and South African workers on the history of the working class struggle in Namibia. It was hoped that this would help to build a powerful working class solidarity between South African and Namibian workers. The International Labour Research and Information Group (ILRIG) - a research and educational service organisation specialising in working class struggles internationally — was commissioned by COSATU and NUNW to research, write and produce the book. Work on the book started in 1988. Between then and May 1989, two ILRIG workers visited Namibia a number of times - once with comrades from COSATU - and gathered a vast amount of information on the struggle in Namibia. Information came from workers, from trade unionists, from SWAPO, from documents and from observation. At all times in the process of writing the book, material was referred back to COSATU and NUNW for discussion and approval. The final chapter on solidarity was done at the end of August 1989, when a delegation of COSATU leaders visited Namibia to discuss setting up a permanent Working Committee with the NUNW. The book is coming at a time when Namibia is about to achieve her independence from South African colonial occupation under UN Resolution 435. The Namibian workers’ struggle for a living wage, for the right to strike, for decent houses, for jobs for all and against privatisation will not end with independence. The need for strengthening and extending trade union organisation in Namibia will not end with independence. The necessity for building solidarity between the Namibian and South African working class will not end with independence.
  • Full Text:
  • Date Issued: 2000

Nani Bwabongo

- Priscilia Ngando (lead vocal), Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars), Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar), Dany Mouanga, Eric Sefu (solo guitar), Aubin Sandjo, Paul Balong (keyboard), Abel Massock, Fabo Claude, Nono (chorus), Cyrille Baudoin Koudh (composer), Aubin Sandjo (drum, percussion, keyboard), Alhadji Mallam Issa (talking drum), Moussa Haissam

Ndioukeul

- Vieux Marius Seck (composer, lead singer, rhythm guitar, accoustic guitar, chorus), Racine Ly (solo guitar), Ousmane Wade (keyboard), Youssou Camara (drums), Moussa Traore (percussions), Sam Thiam (tama), Fama Lo (chorus), Samba Laobe Ndiaye (bass guitar, arranger, recorded by), Studio 2000

Neko Sac

- Vieux Marius Seck (composer, lead singer, rhythm guitar, accoustic guitar, chorus), Racine Ly (solo guitar), Ousmane Wade (keyboard), Youssou Camara (drums), Moussa Traore (percussions), Sam Thiam (tama), Fama Lo (chorus), Samba Laobe Ndiaye (bass guitar, arranger, recorded by), Studio 2000

Nia o Nia

- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono

Nianama

- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono

Nigrobaetis Novikova and Kluge (Ephemeroptera Baetidae): first record and new species from southern Africa, with reassignment of one northern African species.

- Lugo-Ortiz, C R, de Moor, Ferdy C

  • Authors: Lugo-Ortiz, C R , de Moor, Ferdy C
  • Date: 2000
  • Subjects: To be catalogued
  • Language: English
  • Type: text , article
  • Identifier: http://hdl.handle.net/10962/452159 , vital:75108 , https://hdl.handle.net/10520/AJA10213589_279
  • Description: Nigrobaetis bethuneae sp. n. (Ephemeroptera: Baetidae) is descriptionbed from larvae collected from the Cunene (Kunene) River between Angola and Namibia. The new species represents the first record of Nigrobaetis Novikova and Kluge from southern Africa and a considerable extension of the distribution range for the genus. Nigrobaetis bethuneae is characterized by the presence of a small interantennal carina, arrangement of dorsal setae on the labrum, mandibular denticulation and setation, apicolaterally bluntly pointed labial palp segment 3, absence of hind-wing pads, presence of the first pair of gills, and general abdominal coloration. Ecological data on the new species are provided. The Algerian species Baetis rhithralis Soldan, previously considered to belong in Diphetor Waltz and McCafferty, is transferred to Nigrobaetis, and the biogeographic implications of the new assignment are discussed.
  • Full Text:
  • Date Issued: 2000

Njambaar

- Mbaye Ndiaye (lead vocal, riiti), Ibou Tine, Moustapha Dione, Fatou Talla Ndiaye, Arame Camara (chorus), Alioune Gueye (guitar), Elou Fall (keyboard, programming, drums), Pape Ndiaye (percussion), Jololi

No more lament

- Ajah Sy ( lead vocals, author, composer, chorus), Biram Ndeck Ndiaye, Aly Hachem (arrangement), Lamine Faye (guitar), El Hadji Niang, Aly Hachem, Ousmane Wade (keyboards), Moussa Traore (percussion), Jean Pierre Gomes (bass), Marie Codou Pouye, Ajah Sy, Abdourahmane Diallo,Missala man, Aly Hachem, Mame Gor Mboup (chorus), Studio 2000

Nouveau II

- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz

  • Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
  • Date: 2000
  • Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
  • Language: French
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/128992 , vital:36201 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-07
  • Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
  • Full Text: false
  • Date Issued: 2000

Nyau masquerade performance : shifting the imperial gaze

- Guhrs, Tamara

  • Authors: Guhrs, Tamara
  • Date: 2000
  • Subjects: Masquerades -- Malawi , Masquerades -- Zambia , Malawi -- Religion , Zambia -- Religion , Masks, Chewa , Chewa (African people) -- Rites and ceremonies , Nyanja (African people) -- Rites and ceremonies , Secret societies -- Africa
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2140 , http://hdl.handle.net/10962/d1002372 , Masquerades -- Malawi , Masquerades -- Zambia , Malawi -- Religion , Zambia -- Religion , Masks, Chewa , Chewa (African people) -- Rites and ceremonies , Nyanja (African people) -- Rites and ceremonies , Secret societies -- Africa
  • Description: Nyau Masquerades have been studied by missionaries, anthropologists and religious specialists, but have seldom been documented by theatre and performance specialists. This dissertation argues for the acceptance of Ny au performance as a contemporary world theatre form rooted in tradition. Charting the uneasy relationship between the Nyau and those who have sought to record their performances, the author delineates a vivid dramaturgy of this art form. In doing so, the boundaries of what define theatre as it has traditionally been understood in dominant discourses are made more fluid. Nyau performances have been affected by Colonial processes in varied ways. They were banned by the former government of Northern Rhodesia and severely censored by Catholic Mission teachings in the former Nyasaland. Other forms of vilification have been more subtle. Information about performance in Africa has often been collected and arranged in ways which limit the understanding of these genres. Images of Africa which cluster around the notion of the 'Primitive Other' have enabled a representation of Ny au masking as a superstitious and outdated practice with no relevance for contemporary Africa. This work calls for a new examination of the Nyau, through the lens of local discourse as well as contemporary global understandings of performance. Chapter One examines the issue of primitivism and the ways in which Africa has historically been posited as the exotic Other to Europe. Chapter Two examines the Nyau ih terms of specific dramaturgical elements, adjusting previous misconceptions surrounding the theatr~ forms of Chewa and Nyanja people. Chapter Three is devoted to a discussion of space in ritual theatre and Nyau performance, while Chapter Four explores masking and questions of transformation and liminality. In conclusion, it is seen that the use of the mask is a metaphor for the suspension of rigid boundaries separating subject/object, self/other, ritual/theatre, a suspension which needs to take place before an enriched understanding of performance in Africa can be reached.
  • Full Text:
  • Date Issued: 2000

Observations of selective feeding of the aphid, Sitobion yakini (eastop) on leaf blades of barley (Hordeum vulgare L)

- Matsiliza, Babalwa

  • Authors: Matsiliza, Babalwa
  • Date: 2000
  • Subjects: Aphids , Phloem , Barley
  • Language: English
  • Type: Thesis , Masters , MSc
  • Identifier: vital:4212 , http://hdl.handle.net/10962/d1003781 , Aphids , Phloem , Barley
  • Description: Penetration of leaves of barley (Hordeum vulgare L.) plants grown under normal conditions and those exposed to physiological stress, by the aphid, Sitobion yakini was investigated using light and electron microscope techniques. This was carried out to determine if there was evidence of preferential feeding on either thin- or thick-walled sieve tubes in the barley leaf. Under both stress and non-stress conditions, preliminary results of an electron microscope investigation showed that penetration of the epidermis and mesophyll was largely intercellular, becoming partly intercellular and in part intracellular inside the vascular bundle. A total of 317 stylets and stylet tracks were encountered during the examination of 2000 serial sections. In non-stressed plant material, 293 (92%) terminated in thin-walled sieve tubes and only 24 (8%) in thick-walled sieve tubes. Investigation of 1000 serial sections using stressed plant material showed, that 84 of 89 (94%) stylets and stylet tracks encountered terminated in thin-walled sieve tubes. Furthermore, 90 of 94 (96%) stylets and stylet tracks encountered in 1000 serial sections from the second experiment of control non-stressed plant material (control) terminated in thin-walled sieve tubes. The thin-walled sieve tubes were significantly more visited (probed) by the aphid than the thick-walled sieve tubes. Under stress conditions, 50 of 89 (56%) stylets and stylet tracks which terminated in thin-walled sieve tubes were associated with the small longitudinal bundles. Under normal conditions, 65 of 94 (69%) stylets and stylet tracks which terminated in thin-walled sieve tubes were associated with the small longitudinal bundles. There were no significant differences on the number of probes of sieve elements between the two treatments. These data suggest that the aphid S. yakini feeds preferentially on the thin-walled sieve tubes of the small longitudinal vascular bundles in plants grown under normal conditions and those exposed to physiological stress, such as water stress. This further suggests that the thin-walled sieve tubes in barley leaf blades are more attractive to the aphid and are probably most functional in terms of phloem loading and transport.
  • Full Text:
  • Date Issued: 2000

Oluwa Funmi

- Peter Gabriels Muonagor (written, arranged, produced and composed by), Tosia Alesh (arranged and produced by), Studio 2000

Omba

- Brighess (author, composer, lead singer, chorus, percussions), Turbo (chorus), Le Ziboua Stars (band), Cisky de Panza (chorus, guitar, arranger), Ras live I

On using AMOS, EQS, LISREL, Mx, RAMONA and SEPATH for structural equation modeling

- Peprah, Syvester

  • Authors: Peprah, Syvester
  • Date: 2000
  • Subjects: Latent variables , Multivariate analysis , Mathematical statistics -- computer programs
  • Language: English
  • Type: Thesis , Masters , MSc
  • Identifier: vital:11082 , http://hdl.handle.net/10948/279 , Latent variables , Multivariate analysis , Mathematical statistics -- computer programs
  • Description: Structural Equation Modeling is a common name for the statistical analysis of Structural Equation Models. Structural Equation Models are models that specify relationships between a set of variables and can be specified by means of path diagrams. A number of Structural Equation Modeling programs have been developed. These include, amongst others, AMOS, EQS, LISREL, Mx, RAMONA and SEPATH. A number of studies have been published on the use of some of the applications mentioned above. They include, amongst others, Brown (1986), Waller (1993) and Kano (1997). Structural Equation Models are increasingly being used in the social, economic and behavioral sciences. More and more people are therefore making use of one or more of the Structural Equation Modeling applications on the market. This study is performed with the aim of using each of the Structural Equation Modeling applications AMOS, EQS, LISREL, Mx, RAMONA and SEPATH for the first time and document the experience, joy and the difficulties encountered while using them. This treatise is different from the comparisons already published in that it is based on the use of AMOS, EQS, LISREL, Mx, RAMONA and SEPATH to fit a Structural Equation Model for peer influences on ambition, which is specified for data obtained by Duncan, Haller and Portes (1971), by myself as a first time user of each of the programs mentioned. The impressive features as well as the difficulties encountered are listed for each application. Recommendations for possible improvements to the various applications are also proposed. Finally, recommendations for future studies on the use of Structural Equation Modeling programs are made.
  • Full Text:
  • Date Issued: 2000

Onow Nee Jik Weel

- Mbaye Ndiaye (lead vocal, riiti), Ibou Tine, Moustapha Dione, Fatou Talla Ndiaye, Arame Camara (chorus), Alioune Gueye (guitar), Elou Fall (keyboard, programming, drums), Pape Ndiaye (percussion), Jololi

  • Disclaimer
  • Privacy
  • Copyright
  • Contact