January Makamba na blog yake

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Mimi wala sijapoteza muda kuklik hiyo URL, niliposoma eti naye yumo, nikajua hakuna jipya. Kazi inayomlipa mshahara imemshinda, itakuwa ya kujitolea? Kwako Januari bin Makamba fanya kazi uliyoajiriwa kwa umakini zaidi badala ya kublog wakati hata hotuba unashindwa kusahihisha makosa ya kisarufi...timiza wajibu unalipwa kwa kazi hiyo
 
MegaPyne said:
This is a news to me.
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Mega P check hii link hapa utaiona vizuri habari ya Senti Joni
January Makamba — Peace Studies Department — CSB/SJU

 
Nikuulize,wewe unapoandika post zako humu JF unalipwa?
 


Ebioooooo!!! Wewe upo hapo umekaa una waste time kubonyeza kiboard hapa JF unalipwa kiasi gani......think before you talk......
 
Pia wadau tukae tufahamu kwamba sio wote wanaofungua website au blog ni zao hapana sio kweli wanaweza kutumia majina tu lakini hapo hapo anaweza kuwa ametumwa na mwenye jina kufanya hivyo sasa tusikae na kupoteza mda kuwambia kwamba anapoteza mda kukaa kwenye blog na mkifikiria kweli hicho kitu kinawezekana makamba akae kwenye blog aanze kuandika hivyo vitu???

Sio yeye bali kuna mtu kamtuma afanye hivyo

Naomba kuwasilisha!!!!
 
Hiki kijamaa ndio kinani? Mbona watu mnakipa attention sana? Kinaweza kweli kuhimili mikikimikiki ya Nyama Hatari na misukosuko ya Nyani Ngabu?
 

YOYO, January hawezi kuwa muwazi na kuandika kila kitu bila kuathiri ajira yake na pia kumuathiri boss wake. Kama atakuwa muwazi na kuandika kila kitu bila kificho basi namuunga mkono, lakini kuanzisha blogu ambayo atakuwa anachuja nini kinachoandikwa na nini anachoandika yeye hapo kwa maoni yangu kuna utata.
 
MwalimuZawadi said:
Mkuu soma vizuri nilichoandika, nimeainisha wazi kublog ni kazi ya kujitolea
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I have cought you mwalimu,kwa kuwa na blog ndio naona sawa hata sisi tutaweza kumfikia na kumuuliza maswali moja moja.
Nyani Ngabu said:
Hiki kijamaa ndio kinani? Mbona watu mnakipa attention sana? Kinaweza kweli kuhimili mikikimikiki ya Nyama Hatari na misukosuko ya Nyani Ngabu?
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Hamuwezi Nyama hatari ile ni namba nyingine nam miss sana,lol wewe humuwezi kakushinda YNIM ijekuwa JM.
 
Mkuu tumpe muda tuone akileta ufisadi ataitembelea yeye na Mkewe.
 
Yo Yo said:
I have cought you mwalimu,kwa kuwa na blog ndio naona sawa hata sisi tutaweza kumfikia na kumuuliza maswali moja moja.

Hamuwezi Nyama hatari ile ni namba nyingine nam miss sana,lol wewe humuwezi kakushinda YNIM ijekuwa JM.
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Ungejua jinsi YNIM anavyoni-admire wala usingesema hayo ulosema. Au unataka nikuonyeshe PM alizonitumia akinimwagia mi admiration kibao?

Wewe unababaika na Njabu....I have put Njabu in his place umpteen times. I've got his number....
 
Yassin said:
Ebioooooo!!! Wewe upo hapo umekaa una waste time kubonyeza kiboard hapa JF unalipwa kiasi gani......think before you talk......
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Mkuu nadhani mimi na YoYo tumeshaelewana swadakta...ukisoma vizuri nimesema kublog ni kazi ya kujitolea na kwa hoja yako ndio nilifikiri tena sana kabla ya kuzungumza niliyoyaandika. The bottom line, we have common point to argue for why Makamba Jr anablog
 
Bubu Ataka Kusema said:
...Hawana kazi huko Ikulu mpaka wanapata muda wa kuanzisha blogu.

... Akishapiga masaa yake matatu kwa siku basi kazi imekwisha anaenda kushughulikia blogu yake

...Ndiyo matatizo ya kuwa na Ikulu ambayo haina taratibu zozote zile!!!
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Bubu,

Speaking of bloggers wa serikalini, hivi unajua Michuzi ni chief editor wa upiga picha Daily News ?

I hope picha za kihistoria anazoweka kwenye blogu yake haziibui kwenye archives za serikali alizozipiga katika muda, na camera na mshahara wa Serikali.

Na akatamka siku moja - nilicheka sana siku hiyo - alikuwa anahojiwa na Radio Butiama akaulizwa kuhusu his feelings about his new blog and all, akasema toka aianzishe hajisikii /hayuko commited / hana muda na Daily News. Nikasema huyu ana bosi hana bosi ?

Bongo bwana. Yani hata waalimu walipokuwa wanauza ice cream shuleni ilikuwa Mwalimu Mkuu akitokea dumu la ice cream wanaliweka pending kwanza, you know, funika kombe mwanaharamu apite. Hawa wa siku hizi is like "I'm here y'all, blogging and selling maandazi during office time, catch me if you can!!
 
Maskini January! Mbona kila mtu anamshambulia, wajameni? Kosa lake ni lipi? Kuwa na blog? Kama kakosea basi, we all learn through mistakes. Mbona Michuzi hamkumshambulia hivi au kwa kuwa bado hajaukata kuwa mwandishi wa hotuba za Rais? Kuwa White House sio big deal Mtanzania yeyote yule anaweza akawa mtumishi wa White House mradi awe na sifa ama na ngekewa akateuliwa na Mkuu wa Nchi.

Inavyoelekea January tangu uingie Ikulu umekata mawasiliano ama unawakwepa washikaji ndio maana wanakucharukia. Mumsamehe jamani. Ukiingia ndani ya jengo lile unahisi kuna macho ya ziada yanayokuchunguza! Hakuna sababu ya kuhofu 'macho' hayo kwa sababu si dhambi kuwasiliana ama kubadilishana mawazo na walio nje ya jengo hilo. Lakini, January, kama ni kweli umepotea kwenye forums lakini umo kwenye blog, huenda wenzio wanakutaka zaidi kwenye forums! Sio lazima uandike ya White House Tanzania na dunia ina mengi zaidi ya jengo jeupe! Kama ndivyo nakushauri usiache mbachao kwa msala upitao.

Kwa ujikoni wangu, nilipoiona nembo ya Adamu na Hawa nilidhani SteveD ni January! Samahani SteveD.
 
January alikuwa mpambanaji online kabla ya kurudi bongo.Alikuwa very critical kwa maamuzi ya serikali na alikuwa mkweli, baada ya kuingia serikalini kageuka kuwa msemaji wa serikali asiyetaka kusikia chochote kibaya kinasemwa kuhusu serikali, amekuwa overly defensive .

Blog yake yenyewe haina muelekeo, anatuonyesha subconscious wishes zake kwamba anataka Tanzania iwe nchi ya kidikteta na Kikwete apewe a blank cheque.
 
Yo Yo said:
Mkuu tumpe muda tuone akileta ufisadi ataitembelea yeye na Mkewe.
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Mkuu haya ndiyo makaribisho kwenye blogu ya January:

Welcome to my blog. I hope this blog will provide a space for a serious collective contemplation over the state and the direction of our society - everything to do with arts, politics, and letters. Feel free. There will be no those silly anonymous postings in this blog as we intend to elevate the level of discourse (both substantively and in tone). This is a place for serious knowledge-sharing.

Kwa maoni yangu sidhani kama atakuwa na uhuru wa kuandika kila kitu anachokifahamu kama mwandishi wa hotuba za Rais. Halafu sasa hivi nchi yetu inachemka kwa matatizo mbali mbali ambayo yanatukera sana Watanzania ikiwamo la ufisadi, kutonufaika na rasilimali zetu, serikali kutojali gharama kubwa za uendeshaji n.k. Angekuwa makini basi angalau angeanza na topic hizo lakini kaenda kuanza na article ya 'politics of Bongo Flava' Hii haingii akilini mwandishi wa Rais ambaye anafahamu fika jinsi nchi inavyochemka kwa matatizo mbali mbali aanzishe blogu na article yake ya kwanza inahusu swala ambalo halimo hata katika habari 10 za juu zenye umuhimu mkubwa ndani ya nchi yetu. Mimi naona ni usanii tu tena wa hali ya juu.

Article yenyewe hii hapa:

The Politics of BongoFlava
Political scientists and sociologists who wish to understand the way Tanzania's society functions need to look beyond macroeconomic statistics, and learn to decipher the text, tone and sound of BongoFlava - the music of the young people in Bongoland. While rates of economic growth, inflation and exchange may allow for the calculation of what for many are fictitious gross domestic product figures, music embodies a language and richness which can help us measure the per capita anxiety rate and gross domestic happiness – fundamental underpinnings of Tanzania's culture and the glue of its social cohesion.

The unfolding freedom of expression in Tanzania is best observed at the level of the music. If one takes seriously both the axiom that all music speaks – even in the absence of lyrics – and the need to decipher the unspoken dimension of this art form, one cannot fail to notice the impact of music on some of the strong social currents of our time.

Seen from a purely political and economic perspective, for some, the process of social transformation in Tanzania seems to have been slow. However, BongoFlava, the sound of young Tanzania clearly suggests that sweeping social change is in the offing. The new sounds emanating from Clouds FM and EastAfrica Radio announce upheaval, yet retaining hope. BongoFlava musicians are at the forefront of efforts to interpret and transform reality. Now more than ever, the sounds, noises and forms of our music increasingly set the tempo for social change.

It was not by accident that Mangwair's song "Mitungi, Blanti, Mikasi" was hugely popular. Nihilistic at its core, it depicts the social realities of Tanzania's youth and speaks to their innermost desires. It challenges the dominant social paradigms, expresses the youths' yearning for attention, embodies defiance to established cultural norms, and, significantly, pushes the bounds of political expression, basically saying "we enjoy consuming alcohol, procuring prostitutes and using drugs. There is nothing you can do about it and you can go to hell if you don't like it!" Also, "bangi bangi", a number by the cantankerous yet enormously talented young artist called 20% is another illustration. Indeed, as much as many young people enjoy the technical aspect of the songs (instrumentation, etc.), most relish the idea of provocation implied in the songs' lyrics – a la Thomas Kuhn's "disturbance of the paradigm" – and the fact that they can get away with it. For the songwriters and producers (in their 20s) and all those who enjoyed the songs, it was both a political protest and expression of freedom. And when the government announced that it is considering banning Mangwair's song, it played right into the hands of the song's creators and the track had served it purpose.

What happened to what was called "Tanzanian traditional music?" Rarely recorded and now listened to less and less, traditional music has suffered from its association with the past and the rather conservative discourse of some of its practitioners. If it is still popular in some quarters, it is most likely because it elicits twinges of nostalgia and assuages their ambivalent and anguished feelings toward the dizzying pace of "modernity." One must look on in some wonder and bemusement as Msondo Ngoma and Sikinde Ngoma ya Ukae try to "out-Wenge" Wazee wa Ngwasuma.

Despite the repeated prediction of doom, BongoFlava still dominates Tanzania's airwaves and dancehalls. In touch with the problems of daily life, in tune with today's atmosphere of disorder, it is often syncretic but nevertheless contributes to the development of a new social order. At times fumbling and repetitive, and occassionally appearing narcissistic or lost in the fun house of such fleeting trends as reggae, ndombolo, rap or zouk, BongoFlava has never stopped playing its essential role – that of recording the frenzied chronicle of young Tanzanians' collective meanderings, ambitions, and dreams.

Those who dismiss Bongo's popular music as imitations of American hip-hop and RnB are missing a crucial point. At any given time in a society, there is a hegemonic narrative about where the society is and where it is going. There are many conduits for this narrative and the predominance of each is contextual to a society in question. In some societies, paintings are more important while in others it is music that carries the main messages. In most countries, including Tanzania, before ‘liberalization', the official cultural politics called for and dictated this universal narrative. In that respect, political insurgence entails the development of counternarratives – with the conduits remaining the same. The same value to be derived from trying to decipher the political goings-on in Medieval France through the paintings of the time can be obtained by doing the same with Tanzania's music to help us understand our politics. What is evident now with the explosion of BongoFlava, with its technical creativity and incisive lyrics, is the development of a counternarrative. Since this is explosion is self-propelled and free of official sponsorship and endorsement, it is very likely a genuine contribution to what will later be the collective memory of Tanzanians.

The point I am making here is that a society ought to be judged a least as equally on the basis of its sounds, its music, and its taste in entertainment as on its aggregate statistics. Therefore it is necessary to alter our approach to ‘Bongo's' social realities - Bongo must not only be "seen" but "heard". By deciphering the lyrics and the sounds of popular music in Bongo, we can better perceive the concerns and hopes of our people.

The use of language and the degree to which freedom is truly expressed needs to be evaluated through both the lyrics and what lies beyond them. Kiswahili is a multidimensional language and can sometimes be accessed only with the aid of well-defined keys. Similarly, what appears as an expansion and appropriation of freedom, particularly in BongoFlava, also needs to be explored at a strictly musical level (instrumentation), for freedom of expression is not confined only to lyrics. It also involves the choice of instruments, the philosophy underlying the way they are played, the combination of sounds, the construction of harmonies, and the development of arrangements that give a musical work its stamp of originality. To illustrate, the simplicity of instrumentation – a somber acoustic guitar – in Vitalis Maembe's old "Sumu ya Teja" brilliantly portrays the youth's desperation resulting from drug use while the lyrics delivers an intelligently sarcastic indictment of Tanzania's prison and justice system. The fast tempo of Feruzi's "Starehe" and the sharp tone of its lyrical delivery (even when you mute the content) are brilliantly aligned with the fatalistic message in the song.
 
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