Mwenda Ntarangwi – författare

To some, Christianity and hip hop seem antithetical. Not so in Kenya. There, the music of Julius Owino, aka Juliani, blends faith and beats into a potent hip hop gospel aimed at a youth culture hungry for answers spiritual, material, and otherwise. Mwenda Ntarangwi explores the Kenyan hip hop scene through the lens of Juliani's life and career. A born-again Christian, Juliani produces work highlighting the tensions between hip hop's forceful self-expression and a pious approach to public life, even while contesting the basic presumptions of both. In The Street Is My Pulpit, Ntarangwi forges an uncommon collaboration with his subject that offers insights into Juliani's art and goals even as Ntarangwi explores his own religious experience and subjective identity as an ethnographer. What emerges is an original contribution to the scholarship on hip hop's global impact and a passionate study of the music's role in shaping new ways of being Christian in Africa.

In this book, Mwenda Ntarangwi analyzes how young hip hop artists in the East African nations of Kenya, Uganda, and Tanzania showcase the opportunities and challenges brought by the globalization of music. Combining local popular music traditions with American and Jamaican styles of rap, East African hip hop culture reflects the difficulty of creating commercially accessible music while honoring tradition and East African culture. Ntarangwi pays special attention to growing cross-border exchanges within East African hip hop, collaborations in recording music and performances, and themes and messages that transcend local geographic boundaries. In using hip hop as a medium for discussing changes in East African political, economic, and social conditions, artists vocalize their concerns about economic policies, African identity, and political establishments, as well as important issues of health (such as HIV/AIDS), education, and poverty. Through three years of fieldwork, rich interviews with artists, and analysis of live performances and more than 140 songs, Ntarangwi finds that hip hop provides youth an important platform for social commentary and cultural critique and calls attention to the liberating youth music culture in East Africa.

Deftly illustrating how life circumstances can influence ethnographic fieldwork, Mwenda Ntarangwi focuses on his experiences as a Kenyan anthropology student and professional anthropologist practicing in the United States and Africa. Whereas Western anthropologists often study non-Western cultures, Mwenda Ntarangwi reverses these common roles and studies the Western culture of anthropology from an outsider's viewpoint while considering larger debates about race, class, power, and the representation of the "other." Tracing his own immersion into American anthropology, Ntarangwi identifies textbooks, ethnographies, coursework, professional meetings, and feedback from colleagues and mentors that were key to his development.  Reversed Gaze enters into a growing anthropological conversation on representation and self-reflexivity that ethnographers have come to regard as standard anthropological practice, opening up new dialogues in the field by allowing anthropologists to see the role played by subjective positions in shaping knowledge production and consumption. Recognizing the cultural and racial biases that shape anthropological study, this book reveals the potential for diverse participation and more democratic decision making in the identity and process of the profession.

To some, Christianity and hip hop seem antithetical. Not so in Kenya. There, the music of Julius Owino, aka Juliani, blends faith and beats into a potent hip hop gospel aimed at a youth culture hungry for answers spiritual, material, and otherwise. Mwenda Ntarangwi explores the Kenyan hip hop scene through the lens of Juliani's life and career. A born-again Christian, Juliani produces work highlighting the tensions between hip hop's forceful self-expression and a pious approach to public life, even while contesting the basic presumptions of both. In The Street Is My Pulpit, Ntarangwi forges an uncommon collaboration with his subject that offers insights into Juliani's art and goals even as Ntarangwi explores his own religious experience and subjective identity as an ethnographer. What emerges is an original contribution to the scholarship on hip hop's global impact and a passionate study of the music's role in shaping new ways of being Christian in Africa.

Deftly illustrating how life circumstances can influence ethnographic fieldwork, Mwenda Ntarangwi focuses on his experiences as a Kenyan anthropology student and professional anthropologist practicing in the United States and Africa. Whereas Western anthropologists often study non-Western cultures, Mwenda Ntarangwi reverses these common roles and studies the Western culture of anthropology from an outsider''s viewpoint while considering larger debates about race, class, power, and the representation of the "other." Tracing his own immersion into American anthropology, Ntarangwi identifies textbooks, ethnographies, coursework, professional meetings, and feedback from colleagues and mentors that were key to his development.   Reversed Gaze enters into a growing anthropological conversation on representation and self-reflexivity that ethnographers have come to regard as standard anthropological practice, opening up new dialogues in the field by allowing anthropologists to see the role played by subjective positions in shaping knowledge production and consumption. Recognizing the cultural and racial biases that shape anthropological study, this book reveals the potential for diverse participation and more democratic decision making in the identity and process of the profession.

To some, Christianity and hip hop seem antithetical. Not so in Kenya. There, the music of Julius Owino, aka Juliani, blends faith and beats into a potent hip hop gospel aimed at a youth culture hungry for answers spiritual, material, and otherwise.

Mwenda Ntarangwi explores the Kenyan hip hop scene through the lens of Juliani''s life and career. A born-again Christian, Juliani produces work highlighting the tensions between hip hop''s forceful self-expression and a pious approach to public life, even while contesting the basic presumptions of both. In The Street Is My Pulpit, Ntarangwi forges an uncommon collaboration with his subject that offers insights into Juliani''s art and goals even as Ntarangwi explores his own religious experience and subjective identity as an ethnographer. What emerges is an original contribution to the scholarship on hip hop''s global impact and a passionate study of the music''s role in shaping new ways of being Christian in Africa.

This annotated bibliography provides a summary of scholarly work on children and youth in Africa published between 2001 and 2011. It draws from journal articles, monographs, and book chapters. This rich resource for scholars presents publications with a wide range of approaches to child and youth studies. Some scholars question certain views of children especially when it comes to their own agency and full participation in socioeconomic production at the household level. The idea that children are vulnerable social subjects is the predominant view that shaped much of the research reported on in this volume. Western restrictions, on specific age limits, that govern children,s participation in work or labour, whether paid or not, and the subsequent rights that go along with them are often not easily translatable to many African contexts. This creates a kind of separation between African and Western scholars in their study and understanding of children. The overwhelming focus of research published on HIV/AIDS and orphans, violence and child-soldiers, children,s rights, and street children, demonstrates the continued interest regarding children as vulnerable and in need of adult protection. Focusing on the vulnerability of children in Africa appears to be a result of the construction of childhood in terms of modern (mostly) Western perceptions which are based on chronological age mainly. This book is very important for all scholars working on children and the youth in Africa.

Representing research from east, central, west, and southern Africa, Engaging Children and Youth in Africa provides a well-balanced analysis of on-the-ground data with methodological and phenomenological issues that abound in much of research in Africa today. With an introduction that charts out some of the most critical approaches in African-centred research on children and youth, contributors to this volume give the reader a glimpse of the product of engaged research that places children and youth at the centre of analysis. The authors follow recent studies that have insisted on seeing African childhood and youth beyond constraining Western notions of vulnerability or innocence, to capture the ways in which recent advances in technology, the intensification of global processes, and continued weakening of the nation-state have not only contributed to new ways of being children and youth but how they have also provided a new lens through which to study social change.