Efforts within the past decade to address the HIV/AIDS pandemic in sub-Saharan Africa have dealt with HIV/AIDS principally as a medical concern—despite the fact that doctors continue to be confronted with the complex relationship of the disease to broader social issues. When medical and governmental institutions fail, artists step in. Contemporary performances in Uganda often focus on gender and health-related issues specific to women and youths, in which song texts warn against risky sexual environments or unprotected sexual behavior. Music, dance, and drama are principal tools of local initiatives that disseminate information, mobilize resources, and raise societal consciousness regarding issues related to HIV/AIDS. Through case studies, song texts, interviews, and testimonies, Singing for Life: HIV/AIDS and Music in Uganda examines the links between the decline in Uganda’s infection rate and grassroots efforts that make use of music, dance, and drama. Only when supported and encouraged by such performances drawing on localized musical traditions have medical initiatives taken root and flourished in local healthcare systems. Gregory Barz shows how music can be both a mode of promoting health and a force for personal therapy, presenting a cultural analysis of hope and healing.
Performing Religion considers issues related to Tanzanian kwayas [KiSwahili, “choirs”], musical communities most often affiliated with Christian churches, and the music they make, known as nyimbo za kwaya [choir songs] or muziki wa kwaya [choir music]. The analytical approach adopted in this text focusing on the communities of kwaya is one frequently used in the fields of ethnomusicology, religious studies, culture studies, and philosophy for understanding diversified social processes-consciousness. By invoking consciousness an attempt is made to represent the ways seemingly disparate traditions coexist, thrive, and continue within contemporary kwaya performance. An East African kwaya is a community that gathers several times each week to define its spirituality musically. Members of kwayas come together to sing, to pray, to support individual members in times of need, and to both learn and pass along new and inherited faith traditions. Kwayas negotiate between multiple musical traditions or just as often they reject an inherited musical system while others may continue to engage musical repertoires from both Europe and Africa. Contemporary kwayas comfortably coexist in the urban musical soundscape of coastal Dar es Salaam along with jazz dance bands, taarab ensembles, ngoma performance groups, Hindi film music, rap, reggae, and the constant influx of recorded American and European popular musics. This ethnography calls into question terms frequently used to draw tight boundaries around the study of the arts in African expressive religious cultures. Such divisions of the arts present well-defended boundaries and borders that are not sufficient for understanding the change, adaptation, preservation, and integration that occur within a Tanzanian kwaya. Boundaries break down within the everyday performance of East African kwayas, such as Kwaya ya Upendo [“The Love Choir”] in Dar es Salaam, as repertoires, traditions, histories, and cultures interact within a performance of social identity.
The transportation of multimedia over the network requires timely and errorless transmission much more strictly than other data. This had led to special protocols and to special treatment in multimedia applications (telephony, IP-TV, streaming) to overcome network issues. This book begins with an overview of the vast market combined with the user’s expectations. The base mechanisms of the audio/video coding (H.26x etc.) are explained to understand characteristics of the generated network traffic. Further chapters treat common specialized underlying IP network functions which cope with multimedia data in conjunction which special time adaption measures. Based on those standard functions these chapters can treat uniformly SIP, H.248, High-End IP-TV, Webcast, Signage etc. A special section is devoted to home networks which challenge high-end service delivery due to possibly unreliable management. The whole book treats concepts described in accessible IP-based standards and which are implemented broadly. The book is aimed at graduate students/practitioners with good basic knowledge in computer networking. It provides the reader with all concepts of currently used IP technologies of how to deliver multimedia efficiently to the end user.
Efforts within the past decade to address the HIV/AIDS pandemic in sub-Saharan Africa have dealt with HIV/AIDS principally as a medical concern—despite the fact that doctors continue to be confronted with the complex relationship of the disease to broader social issues. When medical and governmental institutions fail, artists step in. Contemporary performances in Uganda often focus on gender and health-related issues specific to women and youths, in which song texts warn against risky sexual environments or unprotected sexual behavior. Music, dance, and drama are principal tools of local initiatives that disseminate information, mobilize resources, and raise societal consciousness regarding issues related to HIV/AIDS. Through case studies, song texts, interviews, and testimonies, Singing for Life: HIV/AIDS and Music in Uganda examines the links between the decline in Uganda’s infection rate and grassroots efforts that make use of music, dance, and drama. Only when supported and encouraged by such performances drawing on localized musical traditions have medical initiatives taken root and flourished in local healthcare systems. Gregory Barz shows how music can be both a mode of promoting health and a force for personal therapy, presenting a cultural analysis of hope and healing.
The Culture of AIDS in Africa presents 30 chapters offering a multifaceted, nuanced, and deeply affective portrait of the relationship between HIV/AIDS and the arts in Africa, including source material such as song lyrics and interviews.
The transportation of multimedia over the network requires timely and errorless transmission much more strictly than other data. This had led to special protocols and to special treatment in multimedia applications (telephony, IP-TV, streaming) to overcome network issues. This book begins with an overview of the vast market combined with the user’s expectations. The base mechanisms of the audio/video coding (H.26x etc.) are explained to understand characteristics of the generated network traffic. Further chapters treat common specialized underlying IP network functions which cope with multimedia data in conjunction which special time adaption measures. Based on those standard functions these chapters can treat uniformly SIP, H.248, High-End IP-TV, Webcast, Signage etc. A special section is devoted to home networks which challenge high-end service delivery due to possibly unreliable management. The whole book treats concepts described in accessible IP-based standards and which are implemented broadly. The book is aimed at graduate students/practitioners with good basic knowledge in computer networking. It provides the reader with all concepts of currently used IP technologies of how to deliver multimedia efficiently to the end user.
Performing Religion considers issues related to Tanzanian kwayas [KiSwahili, “choirs”], musical communities most often affiliated with Christian churches, and the music they make, known as nyimbo za kwaya [choir songs] or muziki wa kwaya [choir music]. The analytical approach adopted in this text focusing on the communities of kwaya is one frequently used in the fields of ethnomusicology, religious studies, culture studies, and philosophy for understanding diversified social processes-consciousness. By invoking consciousness an attempt is made to represent the ways seemingly disparate traditions coexist, thrive, and continue within contemporary kwaya performance. An East African kwaya is a community that gathers several times each week to define its spirituality musically. Members of kwayas come together to sing, to pray, to support individual members in times of need, and to both learn and pass along new and inherited faith traditions. Kwayas negotiate between multiple musical traditions or just as often they reject an inherited musical system while others may continue to engage musical repertoires from both Europe and Africa. Contemporary kwayas comfortably coexist in the urban musical soundscape of coastal Dar es Salaam along with jazz dance bands, taarab ensembles, ngoma performance groups, Hindi film music, rap, reggae, and the constant influx of recorded American and European popular musics. This ethnography calls into question terms frequently used to draw tight boundaries around the study of the arts in African expressive religious cultures. Such divisions of the arts present well-defended boundaries and borders that are not sufficient for understanding the change, adaptation, preservation, and integration that occur within a Tanzanian kwaya. Boundaries break down within the everyday performance of East African kwayas, such as Kwaya ya Upendo [“The Love Choir”] in Dar es Salaam, as repertoires, traditions, histories, and cultures interact within a performance of social identity.
Gregory was born February 9, 1959, Columbus, Ohio, having two loving parents, raising five children, three boys and two girls. They spent the early part of our childhood growing up in the inner-city urban projects. Their parents were very support of Gregory and his sibling’s activities. At a young age Gregory had challenges of dealing with bullies, racism and rejection of what people thought of hm. He wanted to make a change in his life; he got interested in self-defense and started to research martial arts and the different disciplines. He then asked his my mother to sign him up for martial arts lessons, which she did. Gregory learned how to defend and went on to be a World Martial Arts Champion. He retired from competition and joined the Columbus, Ohio Police Department, receiving a created job in the community relations bureau (PAL). Gregory was well liked and very ambitious, he had an out of the box attitude, that created some friction between the police department and the Korean Masters Martial Arts Association. Years later both the police department and Korean Masters Association acknowledge his efforts and showed their gratitude by awarding him with honorable Awards.
If a man pays his dues, is he ever out of debt? Are his past mistakes ever forgiven? In our struggle to protect the helpless, have we lost the ability to determine who is innocent? Gregory Torti may not have the perfect past, but learned from his mistakes and was ready to move on. The justice system has a different idea of him, and no matter the facts it is willing to cast aside reasonable doubt. Just as Gregory was ready to live the honest American dream, he is thrown into a battle for true freedom.
The 13th Rare Earth Research Conference was held October 16- 19, 1977 in Wilson Lodge at Oglebay Park near Wheeling, West Vir g1n1a. From the small conference held originally at Lake Arrow head, California in 1960 the meetings have grown steadily in size and stature until they are now recognized as the premier conference devoted exclusively to the science and technology of rare earth systems. In keeping with the spirit which has prevailed since the Lake Arrowhead days a number of improvements were instituted on the oc casion of the 13th Conference. For the first time poster sessions were introduced, and they proved to be a splendid success. This was a year of another first - a review system for manuscripts. Dr. McCarthy, who undertood the arduous task of Program Chairman, and Dr. Rhyne, who along with Dr. McCarthy edited the conference proceedings, were mainly responsible for suggesting and implement ing these innovations. The layout at Wilson Lodge was nearly ideal for the conference in that poster and oral sessions were in very close proximity, facilitating the efforts of the attendees to make the most of the conference.
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