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Papers by Lidwien Kapteijns

Northwestern University Press eBooks, 1994

This work presents the Arabic texts and annotated translations of 30 documents exchanged between ... more This work presents the Arabic texts and annotated translations of 30 documents exchanged between 'Ali Dinar, Sultan of Darfur, in the Sudan from 1898 to 1916. Through these fortuitously surviving pieces of diplomatic correspondence, the authors throw valuable new light on the foreign policy of 'Ali Dinar, the long-distance trade in arms and other "luxury" goods between Darfur and the Sanusiyya, and the policy of the Sanusiyya toward Darfur and the surrounding region. The authors have provided an extended interpretive essay, organized chronologically, placing the documents themselves and the information they contain in a wider context. This book contributes to the growing literature of documentary source materials from northeastern Africa.

University of California Press eBooks, Dec 31, 1991

Islamic Scholarship in Africa

'Stringing Coral Beads': The Religious Poetry of Brava (c. 1890-1975), 2018

Biography 107 Sheikh Qasim's Poems 110 1 Daada Maasiṯi nsoomela duʾa (Dada Masiti, pray for me) 1... more Biography 107 Sheikh Qasim's Poems 110 1 Daada Maasiṯi nsoomela duʾa (Dada Masiti, pray for me) 110 2 Chidirke ya Rasuuḻ Aḻḻah (Rescue us, O Prophet of God) 118 3 Salaaṯun saḻaamun ʿala aḻ-Musṯafa (Peace and blessings upon the Chosen One) 138 4 Meezi wa keendra (In the ninth month) 146 5 Hamziyyah, Jisi gani khpaandra mitume anbiya (Hamziyyah or How could the other prophets rise?) 157 6 Ḻa ilaaha ntaku Maʾabuudi wa haqi (There is no god but the true God) 176 7 Nakaanza khṯuunga marjaani (I start stringing coral beads) 190 Biography 685 Sheikh Mohamed Sufi's Poems 687 1 Aadhaḻḻe aadha (Beware! Beware!) 687 2 Akhuaaniza kasaani (Listen to me, O brothers) 693 3 Salaaṯu na amaani (Blessings and peace upon the Prophet) 700 4 Susumuki (Will you not wake up?) 710 5 Iyi ni bishaara (These are glad tidings) 729 Abastide Mohamed Sheikh Abba Biography 737 Abastide Mohamed Sheikh Abba's Poems 739 1 Yā man yarā wa lā yurā (O you who see and are not seen) 739 2 Sheekhi Imaamu aḻ-Ghazaali (O Sheikh Imam al-Ghazālī) 768 3 Mtume shtiilo galadi na fadhiila (Through the Prophet we attain God's support and favour) 787 Appendix 1: Names of God Mentioned in the Sṯeenzi 795 Appendix 2: Names and Attributes of the Prophet Mentioned in the Sṯeenzi 800 Appendix 3: Names of Fatima Mentioned in the Sṯeenzi Appendix 4: Names of Angels Mentioned in the Sṯeenzi Appendix 5: Names of Prophets Mentioned in the Sṯeenzi 810 Appendix 6: Musical Annotation of the Sṯeenzi 812 Glossary 815 Bibliography 820 General Index 836 acknowledgements xv While it is not possible to acknowledge all debts incurred during this project, Mohamed Kassim singles out first and foremost his late father, Munye-Qassim Sheikh bin Sheikh, who taught him from when he was a young boy in Brava and helped him acquire a profound understanding of Sufism and the Chimiini sṯeenzi. He extends his sincere thanks to Zein Jeilani Sheikh, who helped with the research, provided material, and shared his extensive expertise; to his brother, Abdullahi Kassim, who provided invaluable support throughout, and to his aunt, Amina Sheikh bin Sheikh, for her wholehearted devotion to this project. Typical of her generation of Bravanese women, the latter committed most of the poems in this book to memory, and, together with other women of Brava, has supported this project by sharing her insights, recordings, and manuscripts. Mohamed also thanks Bana M.S. Banafunzi for his inspiration and help, Dr. Khalifa Mawlana Sufi, an extraordinary mentor, for giving generously of his time and knowledge, and his brother-in-law, Mahjoub Banafunzi, for his recurrent help in securing relevant books and in clarifying parts of the poems. He thanks the members of his family, who sacrificed much to give him the space and tranquility necessary to complete this project. While our work has benefitted from the help and advice of many, we take full responsibility for any remaining mistakes and omissions, and we would like to advise our readers, in the words of the Bravanese poet Sheikh Qasim, "If you see any mistakes, correct them. All human beings err, no matter who they are." map of brava in regional context figure 1 The mosque of Sheikh Nureni Photograph by Marina Molon figure 2 A street in Brava Photograph by Marina Molon

The International Journal of African Historical Studies, 1987

The International Journal of African Historical Studies, 1991

Mediations of Violence in Africa, 2010

This volume has benefited substantially from the anonymous reader comments provided to us through... more This volume has benefited substantially from the anonymous reader comments provided to us through the publisher. We alone, of course, are responsible for its inevitable shortcomings. The editors would like to further thank the following institutions. Lidwien Kapteijns acknowledges the National Endowment of the Humanities, Wellesley College, and the Halabuur Centre for Culture and Communication in the Horn of Africa for their support of her sabbatical research. Annemiek Richters acknowledges the Leiden University Medical Center for granting her the study leave at NIAS during which she could lay the foundation for her contribution to this book. We would also like to acknowledge each other. In all aspects of the work that has gone into putting this volume together-from interacting with contributors to theoretical concepts-we have learned from each other and come to appreciate each other's strengths. This volume shows how those who have experienced violence strive to come to terms with its consequences as well as how intensely political and contested such coming to terms almost always is. We believe that the perspectives it presents will be of interest to students, scholars, and practitioners with a wide range of interests.

“Ethnicity matters, and it seems to matter for a long time.”1 “Diaspora consciousness lives loss ... more “Ethnicity matters, and it seems to matter for a long time.”1 “Diaspora consciousness lives loss and hope as a defining tension.”2 “The search for authenticity and the reclaiming of an Islamic identity, while drawing its inspiration from the past, is geared towards creating alternative futures.”3 I.

This paper will reflect on how the author went about documenting (analyzing and contextualizing) ... more This paper will reflect on how the author went about documenting (analyzing and contextualizing) the under-analyzed and often purposefully concealed history of the clan cleansing of 1991 while simultaneously beginning to create space for that plurality of narratives of the past that are in part distortive and denialist and yet indispensable to moral repair and social reconstruction in the present. In other words, how did the author of this book try to reconcile her responsibility to the past with that to the future and how does she envision a multi-directional memory project for and by Somalis of different backgrounds that may be indispensable to moral repair.

Islam Et Societes Au Sud Du Sahara, 1993

Northeast African Studies, 1989

Bildhaan an International Journal of Somali Studies, 2013

Northeast African Studies, 2001

If one wanted to take the pulse of Somali society from the period 1950–1990, the Somali pop song ... more If one wanted to take the pulse of Somali society from the period 1950–1990, the Somali pop song is a superb instrument, as it offers a direct window to the feelings and concerns of Somali men and women of that era. The genre of the pop song emerged after World War II and matured during the nationalist struggle for independence. It began as a love song and, as such, gained immediate popularity. However, it gained respectability only gradually, as it took up and popularized anticolonial and nationalist themes.1 Together with the Somali riwaayad (or play), of which it was an intrinsic part, the pop song came to express and comment upon all aspects of Somali society, from corrupt government officials to the tensions around women’s emancipation.2 Nevertheless, the majority of the pop songs continued to be love songs. Most Somalis born and raised in Somalia have at least passive knowledge of hundreds of them. It was long believed that only men authored the words of the pop song and set them to music, even though it was clear that there was close collaboration between poets and singers of both sexes, who spent much time together. However, since the 1980s, some women singers have created the words of their own songs, and at least one (Saado Ali Warsame) claims to have contributed to the texts of earlier songs and plays.3 While

The International Journal of African Historical Studies, 1996

American Ethnologist, 1996

Sudanic Africa, 1991

... His death marked the end of the Dar Fur Sultanate. Ahmad al-Sharif continued to direct the Sa... more ... His death marked the end of the Dar Fur Sultanate. Ahmad al-Sharif continued to direct the Sanusiyya until his exile in 1918. ... May He 20 Al-mu" azzam: a common epithet of the month ofRamadan. 2 1 The concept is ijaza. See M. Th. Houtsma, art. idjaza', El (1), IV, 667. ...