Download Wimbo Wa Jux Na Diamond Enjoy __HOT_

Chocolate City Releases New Women Month-themed Compilation Titled SHERO. Play and Stream Now Chocolate City Releases New Women's Month-themed Compilation Titled "SHERO." Whether you are spending this International Women's Day working hard or enjoying a well-deserved day to relax, these empowering bops will surely get their celebration off to a strong start.

Chocolate City Releases Love and Chocolate Vol 2 Compilation. Stream and Play Now Chocolate City Releases Love and Chocolate Vol. 2 Playlist Compilation. This playlist holds in its grasp the memories of how Love was from the early days of Chocolate City artists to now. It's a playlist that people can listen to while enjoying each other's lovely company.

Download Wimbo Wa Jux Na Diamond Enjoy

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Msanii Diamond Platnumz anazidi kuandamwa na pigo baada ya jingine, la hivi karibuni likiwa ni wimbo alioshirikishwa na Juma Jux, Enjoy kufutwa kwenye mtandao wa YouTube kutokana na masuala yanayofungamana na hakimiliki.

Ukienda kwenye mtandao wa YouTube, audio ya wimbo huo haipatikani na inasema kwamba wimbo huo uliondolewa baada ya mtu anayedai kuwa mmiliki halisi wa wimbo wenyewe kutoa malalamishi yake kwa YouTube.

Msanii huyo alisema kwamba alishtuka sana baada ya kusikiliza wimbo wa Enjoy na akaamua kumuandikia Jux kumjulisha lakini hakumjibu akisema kwamba anachokisubiri ni wao kumfuata ili waweze kuyanyoosha.

Take a few minutes to listen to the new song and if you enjoy it, please share it with your friends and family. Your support means a lot and will definitely help the artiste to continue to create good music.

finally artist jux and fellow artist from Tanzania who is also number one east africa diamond platnumz have released their second collab amapiano called enjoy.

in cloudsmediatz we get all audio,videos,news,instrumental and new songs here is enjoy audios from juma jux enjoy download and listen to bora niinjoi niinjoy from daimond platnamz enjoy kama kupenda maisha mafupi yanini niteseke roho jiunge nami upoze koo tupande juu ya meza mp3 project belows.

Performance of poetry among the Swahili has a long history datingas far back as the sixteenth century when written historical records forSwahili literary practices first appear (Allen 1981). That poetry is animportant component of Swahili cultural identity and practices has been welldocumented (e.g., Allen 1981; Anthony 1983; Harries 1962; Knappert 1972,1977; Mulokozi 1982; Mazrui and Shariff 1994; Shariff 1983). Indeed, much ofSwahili's expressive culture is centered on this poetry. The Swahilidivide their poetry into three categories- the shairi (a poem that has fourlines in each verse), the utenzi (a long poem of three or four lines in eachverse and mainly composed as an epic) and the wimbo (a three-versed poemcomposed to be sung).

However, these categories are not entirely distinct, as there aremany overlaps between categories; indeed, if we heed the thoughts of earlierSwahili scholars, then we agree that Swahili poetry is composed to be sung(Abedi 1965; Harries 1962), and hence place all Swahili poetry under thewimbo genre. It is only after we include notions of the content of poems,where they are performed, and their length, that we are able to group theminto various categories. Nevertheless, taarab technically falls under thethird category of wimbo, with three lines in each verse and a fourth one thatis usually the refrain (locally referred to as kiitikio, kipokeo, orkibwagizo). The composition of taarab texts adheres to the tradition of rhymeand meter that is followed in other forms of Swahili poetry. Here is anexample of a taarab song that follows rhyme and meter that is present in muchof Swahili poetry. The first verse of the song, "Singetema" byZuhura Swaleh is as follows:

In the entire song, the harmonium not only plays the accompanyingmelody along with the soloist, but also the response that comes after thesoloist, just before the chorus joins in the repeated response. Thisresponsorial chorus is sung in unison with the soloist and the other membersof the group and is repeated after every stanza. Each stanza in the songcarries a meaningful idea. This is divided into lines that are broken intotwo hemistiches of eight syllables whose divisions are repeated end sounds(e.g., in the first line ma and za are the end syllables of the twohemistiches respectively and are repeated in the whole stanza and the choralpart). The choral part is distinct in the number of syllables it carries.Certain speculative conclusions can be made to account for this variation inlength between the chorus and the other lines in the stanza. First, thechorus cannot be strictly considered part of the technical composition of thewhole poem. The poem falls under the wimbo genre that, as a rule, comprisesthree lines in a stanza. Therefore, the chorus lines need not conformstrictly to the rules governing the other lines. Secondly, since the chorusmarks the end of one sung part before the accompanying harmonium plays thebasic theme, it is lengthened to prepare for change into the next stanza.

Sometimes, however, taarab may serve as a precursor to a religiousfunction, as was the case on January 10, 1997, when Sitara Bute wasentertaining Muslims in Majengo-Msaji in Mombasa to usher in the holy monthof Ramadan. This performance drew opposition from conservative Muslims. Abouttwenty Muslim youths led by the local Imam, Sheikh Mohammed Idris, disruptedthe performance amid shouts of "takbir! takbir! (God is great)."The youths, who had come from the nearby Sakina Mosque after twareh (specialprayers before the beginning of Ramadan), had the music stopped, as the Imamgrabbed the cordless microphone seeking to know why Muslims were enjoyingmusic during the eve of the month of Ramadan. As the youth group got rowdy,threatening to lynch the participants if they did not stop, Sitara Buteabandoned the performance and ran off-stage. Later the next day, Sitara Butewas quoted as seeking to know the Muslim law that was used as the basis forstopping her musical performance. She said that they were all Muslims andthat when the moon is sighted nobody is allowed any form of entertainmentafter midnight. But their performance was scheduled for the hours between 7and 11 p.m. and thus was not contravening any law (Sunday Nation, 12 January1997). According to strict rules stipulated by Islam, however, it does notmatter what time the performance was scheduled to take place; the fact isthat for Muslims to perform taarab is undesirable. This intolerance ofperformance or consumption of taarab has led many Muslim leaders tocontinually campaign against the airing of taarab music on radio andtelevision. Some of the people I talked to about this campaign stated thatthe erratic airing of taarab music on Kenyan television pointed to thesuccess of this campaign. Others felt that it was due to a lack of interestin Swahili cultural practices that can be discerned in many of the nationalcultural programs. So far, three radio stations have weekly programsdedicated to taarab music that reach most of the country's population. ff782bc1db