![]() ![]() A close reading of selected songs reveals that individuals' experiences of gender problems are shaped by gendered mental space, which is informed by religious and other cultural norms. Third, I discuss the prominence of women musicians in popular church music in recent years and the way in which this prominence has increased the focus on women's issues in the music. The dynamics in this space involve the interaction between local and global music aesthetics. Second, I point out that the practice of African nationalism in this music has been aiming at liberating the national mental space through the use of traditional music materials and by addressing various national issues. ![]() First, I discuss how the use of this music in religious spaces and the changes that have taken place in aspects of the music have been controversial, and I argue that the changes in the music led to changes in people's inner experiences of Christian spirituality. In part two, I use the theory of spatial trialectics to examine how popular church music is related to religious, national and gendered spaces. Likewise, the structural organization of the music and various musical elements imprint musical works and give them their identities thus causing them to be associated with other works that are organized in more or less similar ways. Various processes in the making of popular church music and various people involved in the creation of this music are considered to serve as stamps that mark the metamorphosis of the music. Using selected stamps in the history of Tanzania from the 1980s to 2005, I discuss, on the one hand, how temporal events shaped various aspects of the music and people's experiences of the music and, on the other hand, how the music influenced people's experiences of various events and temporal rhythms. In part one, I argue that temporal change is experienced by human beings in relation to events or "stamps". It is concerned with popular church music (Muziki wa Injili) in Dar es Salaam and with changes in this music in relation to the concepts of temporality and spatiality. Oh Father Lift me up/to stand in faith/To climb all hills/ Oh Father lift me up.This is a PhD Thesis completed at the University of KwaZulu-Natal, South Africa in 2006. Iâm moving forward/I am pressing on/Listen to my prayers /Oh Father lift me up Otherwise, the translation differs for example as follows: (Verse 1 + Chorus) The Swahili version was adopted from the original hymn, that is why the translation is the hymn itself. The English translation in this song is not exact. Nitaomba nisikize (But still Iâll pray till Heavân Iâve found) Zaidi ya ee mawingu (And catch a gleam of glory bright) Nataka nipandishwe juu (I want to scale the utmost height) ![]() Nitafika kwa imani (The song of saints on higher ground) Natazamia mbiguni (For faith has caught the joyful sound) Ni mahali pa shetani (Though Satanâs darts at me are hurled) Bwana Uniinue - AIC Nyakato Choir MP3 song from the AIC Nyakato Choirâs album is released in 2015.Nisikae duniani (I want to live above the world) Download Bwana Uniinue - AIC Nyakato Choir MP3 song on Boomplay and listen Bwana Uniinue - AIC Nyakato Choir offline with lyrics. Kuendelea naomba (My prayer, my aim, is higher ground) Hapo wengi wanakaa (Though some may dwell where those abound) Mahali pa shaka kamwe (Where doubts arise and fears dismay) Sina tamaa ni nikae (My heart has no desire to stay) Nipande milima yote (A higher plane than I have found) Kwa imani nisimame (By faith, on Heavenâs table land) Mombi uyasikie (Still praying as Iâm onward bound)Ä®e Bwana unipandishe (Lord, plant my feet on higher ground)Ä®e Bwana uniinue (Lord, lift me up and let me stand) Ninazidi kutembea (New heights Iâm gaining every day) Mbeleni naendelea, (Iâm pressing on the upward way) ![]()
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