#ChiTonga

[both-sides-of-the-zambezi]

Women across Lake Kariba

International relations at local level forged by women

In August 2018, Zimbabwe women’s organisatopn Zubo Trust in Binga hosted two women from Zambian Women Clubs across the lake for a study-tour to some of Zubo’s economic empowerment projects, such as the women fishing Coop Bhindawuko Banakazi and the Jatropha soap production. Nosiku Mundia, a young woman presenter at Zongwe FM was the third lady to join the journey across Kariba Lake; she documented the women’s exchange in audio recordings. 

Klick here to visit the map of the location

The related broadcasts that followed on their return back home in Sinazongwe Zambia were an eye-opener to everyone involved especially with regard to differences in gender parity… as you can hear from the vivid call-ins in the radio excerpts below… !

Following we introduce excerpts of live broadcasts at Zongwe FM

29.08.2018

Reports from Binga: Women on the water - “They are united...” (10:10’) Nosiko reports from her visit together with Cleopatra and Mariya at Zubo Trust in Binga Zimbabwe and especially about Bhindawuko Banakazi (BB = business women), a coop of 10 women fishing kapenta (mantemba) on Kariba Lake. James questions: could women in Zambia do the same…? Nosiko respondes and reports from the women’s exchange in Binga. What help or encouragement did Zubo women offer to the women in Zambia. Nelico presents; music DJ Kwe “Voices of Binga” track 09 “team work”.

Reports from Binga -  “Fifty-fifty equal rights...” (15:40’) We listen to a clip from Nosiko’s recordings with BB where the women respond to Mariya and Cleopatra’s questions on how they managed to negotiate the freedom to go to work with their husbands. “In Zambia… we don’t allow women to participate in any activity...” James responds. Three male callers follow up in disbelieve with questions on details of the situation of women on a fishing rig. Nosiko clarifies. Mukuwa Mutinta adds some details from the history of this project of Zubo  Trust.

31.08.2018

Reports from Binga: Jatropha Soap  - “We are ready to join…!” (13:20’) We listen to Nosiko’s recording introducing the Jatropha soap project of Zubo Trust. Kasimbi-ka-malaiti (“the electrical girl”) calls a number of times inquiring about details of the production process. Cleopatra, one of the women who went to Binga is herself very interested in the project and ready to reply in detail. Another lady-caller adds with excitement that she and her group are ready to join any project which the women who went to visit Zubo will start now. James presents the show with Nosiko, Cleopatra, Mariya, Mary Mwakoi and Maria of Tusumpuke Women’s Club.

Pumba’s ad-hoc ad for Binga Soap - “Eh-nsipa is the best…!!” (01:15’) This is an edited, chance-recording we made with Muchindu Pumba towards the end of the fundraising concert for Zongwe FM. You’ll hear event and music still on-going in the background. Pumba had a long conversation with Matron who was representing Zubo Trust in Binga at the event, felt inspired by what she heard and lend her sisters across the waters in Zimbabwe this full-hearted support. (Remix with Zubo’s Angeline.)

[gwendolynlerman]

Languages of the world

Tonga (Chitonga)

Basic facts

Number of native speakers: 1.5 million

Official language: Zimbabwe

Recognized minority language: Zambia

Language of diaspora: Mozambique

Script: Latin, 23 letters

Grammatical cases: 0

Linguistic typology: agglutinative, SVO

Language family: Niger-Congo, Atlantic-Congo, Benue-Congo, Bantoid, Bantu, Botatwe

Number of dialects: 6

History

1915 - first vocabulary

1918 - first grammar

Writing system and pronunciation

These are the letters that make up the alphabet: a b c ch d e i j k l m n ng o p r s t u w x y z.

Tonga has two tones: high and low. One feature of this tonal system is that high tones tend to get disassociated from their original place and moved to the left.

Grammar

Nouns have nine classes, two numbers (singular and plural), and no cases.

Possession is expressed using possessive suffixes. Complements follow the noun.

Verbs are conjugated for tense, mood, number, and person. They also include direct and indirect object markers combined with the root. There are several types of past and future tenses: recent past, simple past, recent past continuous, habitual past continuous, remote past, near future, simple future, future habitual, and extended future.

Dialects

Six dialects can be distinguished: Plateau Tonga, Valley Tonga, Leya, Mala, Ndawe, and Dombe. There is no standard form and differences between dialects are reflected in phonology and orthography.

[zambianobserver]

Some Tonga Forenames And Their Meanings

Some Tonga Forenames And Their Meanings

SOME TONGA FORENAMES AND THEIR MEANINGS. The Tonga people are an ethnic group found in the Southern part of Zambia and in the northern part of Zimbabwe. The Tonga people are believed to be the oldest Bantu settlers in Zambia. There are Valley Tonga who reside in a series of gorges near the Zambezi river and the Plateau Tonga who live in higher lands. They all speak the Tonga language “Chitonga”…

[gidemy]

ECZ Grade 12 chitonga p2 2017 gce

[earthianos-blog]

Malawi en la EARTH

Micah Mzumara es un chico de Malawi. El viene de la zona norte de Malawi de las personas llamadas Tongas. Tongas son personas alegres y unidas. Las personas de esta tribu son principalmente pescadores y algunos son agricultores. Ellos  tienen un alimentación muy variada, pero la base de su alimento es la harina de yuca. A través de la educación misionera, pueden ganar más salarios, principalmente como cargadores, trabajadores calificados o semi-calificados y auxiliares armados.

En prácticas matrimoniales el novio paga el lobola (precio de la novia) en la forma de dinero a los padres de la novia para los pagos adicionales si un niño o una esposa cae enfermo.

Aproximadamente 170.000 personas de Malawi hablan el idioma de Tonga. El idioma se llama chiTonga. El 'chi' significa 'el idioma del', como 'ki' en kiswahili o 'se' en seTswana.

Además, uno de los tipos de danza que practican se llama Chilimika que significa “año”. Es realizado por los muchachos y las muchachas jóvenes al principio de cada año. Esta danza da lugar a la generación joven para entretener a la generación más vieja de una comunidad particular. Es una plataforma donde padres y abuelos aprecian la herencia de los rituales tradicionales por la población más joven.

[zentnertozambia]

March

Work: During this month, Moses & I have been trying to touch each of our schools, to meet each of the Peace Clubs (we hit 14 of 17). Its a joy to get to meet and see pupils active and passionate. Of course, this is not the case everywhere… but its great when we do find it. One school, Macha Central Basic School (grades 1-9) didn’t have an active PC last year, but the Headmaster said it was a crucial program. One of their teachers was selected as the Matron, and joined us for a near-by training workshop in February. When I got around to the school this month, there were 32 students on the registration sheet; however, I counted at least 57 in the classroom that day! Even more encouraging, was that there was another teacher leading the lesson, while the Matron & 2 other teachers observed & contributed. The Deputy Headmaster even came to watch for a bit. In a school where I was unsure of the interest level, I am encouraged by the passion showed by many within this school community! Home: Unexpectedly, I shifted host-families this month. Transport to the farm from town was becoming increasingly difficult, especially with shorter days and winter approaching. So I’m not within Choma town, staying with the Mweetwa’s! I have greatly appreciated the willingness of both families to open up their home to a stranger, and am very much enjoying the opportunity to see another sort of family here, with 2 young host-brothers (~2 & 5), & a few host-cousins. Now I get plenty of opportunity to help with homework, play with trucks in the one common room, & watch/hear cartoons & news simultaneously on both televisions! Social Life: I feel increasingly integrated into the community here. 2 days away from the office is always greeted with “David, you’ve not been seen!”, and trying to walk anywhere is getting slower as there are more and more people to greet. When I’m breaking from work, I can sit outside with the welders (Dan & Leonard) who can also help me patch my punctured bicycle tire, get invitations to Ruth’s daughter’s birthday party (coming up in April), go shopping with teacher-friends when they are in Choma for the day, & train w/ Friday & Londe & their football team whenever I get a chance. The ladies around the corner who sell fish always test my chiTonga, but my talk-time man is satisfied with the normal greetings. All that to say, there’s not shortage of friends around here, that much is for sure!

[juliamulders]

Week Twelve.

No time to stop now - it’s been go! go! go! I feel like I haven’t stopped sketching and developing my design, and yet, the development continues...

At the start of the week, I used the photographs of my rough physical model as a basis on which to develop. With the ‘levels’ of the building in mind, I began experimenting with the upper level (4 - which is indicated in the diagram below), to see how I could generate a ‘gentle’ (less rigid) effect, above the more functional and practical interior. I did this by drawing over ‘strips’ from the previous experimentation session, scanned them in, and manipulated them in Photoshop to create some interesting outcomes. I realize that I would not be able to achieve some of the more ‘wacky’ outcomes, but it was worth the experimentation! Sometimes, things happen by accident, so it’s always worth a try.

The top-most image/scan is one which I feel would be most realistic to move forward with, considering the local materials & construction techniques that will be used. I like the idea of the central ‘rib’, which I could use to explore height and possibly also to influence the interior space below. The way I see it at the moment, is that the 'canopy’ will run independently to what is happening below it.

Directly below are some sectional sketches to help with the visualization of my design. I numbered the sections:

1 - presentation amphitheater space

2 - water pump level

3 - main floor

4 - roof structure

It is important for me to keep local materials, construction techniques and vernacular in mind. The design needs to ‘fit’ within the community and landscape.

Before I moved on, I checked over my designs with one of my tutors who gave the following advice:

Positive development. Go further with this ‘level’ experimentation. What is happening on ground level? Is the ground level reflect the shape of the roof? (e.g. Bottom - organic. Middle - functional. Top - organic).

What happens in the ‘gaps’ in-between the top and middle structures? Can you possibly play with heights here? 

Remember your focus: ‘soft’.

Like I mentioned before, the sketching doesn’t stop.

In preparation for my tutorial (the last one before the Easter holidays), I tried to bring all the necessary design elements together. Feedback:

Make things ‘work’ around the water pump - this is very symbolic. (I had questioned this aspect of my initial design concept as I thought it might be disruptive to the adjacent spaces).

How is this not going to be too much of an architectural project? Is there an existing space you could work with? You don’t want to disadvantage yourself. Maybe a way of arguing that this is more about the existing, would be to focus on the functions within the building as a whole? Possibly thinking about how internal space can be generated from the landscape itself, could have ‘grown’ out of the landscape (e.g. trees (shading), big hole in the ground (amphitheater)). Use the site to let the design evolve. What is this land like? (Respond to contouring. flat? hilly? rocky?). The locally available set of building materials and vernacular forms/techniques will enhance this functional approach. Simple & effective but ALSO sculptural. Use the natural landscape to inform the design.

Use the canopy (roof structure) & organize space accordingly. You have established the functions, so these can be organized independently underneath the canopy, and should happen quite naturally, without having to think about ‘buildings’. Another way of thinking about this same idea: a shelter provided by a canopy/umbrella - now a matter of identifying the spaces that happen underneath it. ‘Weaving’ the interior into the ‘enclosure’ (reference used: tree canopy).

To make the design ‘flow’, why can’t the amphitheater seating run through to treatment waiting space?

An image showing further experimentation after tutorial, trying to connect the educational and medical spaces with seating.

I need to start thinking of names for this clinic design! Here are some English to Chitonga (language in the Southern Province of Zambia) translations to start.

‘we eat well’ - lulya kabotu

‘food for kids’ - chilyo chabana

'healthy food' - chilyo chibotu

'eat well, live long’ - lya kabotu, oongole

‘happy families’ - mikwashi ikomene

I took the advice of using the ‘canopy’ of the design to organize the spaces beneath it. Before I moved on with this though, I experimented with the shape and form of the canopy in order to reflect the landscape/lie of the land. Land in Zambia varies across the country, but is mostly plateau land. I want to use the contouring of the land and reflect this in the building itself. I hope for this ‘contouring’ to be repeated within the interior space too. This sculptural-looking form makes up one of my three main aims: creativity and positivity.

I chose to move forward with the last image: bottom right corner. This seemed the most achievable, structurally, & in terms of thatch construction (four points would touch the ground, and central ‘rib’ would support canopy equally). In plan view it also creates a divide (gentle) between the educational & medical spaces which I hope to reflect back into the interior with integrated seating, following this ‘rib’ line. Although I have been advised not to focus too much on the architectural/construction side of things, I needed to establish this first before I could arrange the functional spaces beneath it.

I then began to explore how the functional elements I had established previously, would fit underneath the canopy to generate ‘flow’ within the interior (top two images in above composition). From there (the following images) indicate how I developed these ideas further (e.g. room arrangement, circulation routes, axonometric view) & looked into a way I could communicate the different ‘levels’ of the design from a 2D view - I did this by corresponding the colours on the floor plan to a key. The space is divided like this:

Orange - Level 1 (main floor)

Grey - Level 2 (submerged 1)

Brown -Level 3 (submerged 2)

This clarification of levels helped when I moved onto Revit to draw the 3D version of the design.

Finally! All the above images are taken from the Revit model. I drew out the basic floor plan in AutoCAD and then exported it into Revit to make it into a realistic 3D CAD model! A lot still has to be done, but to be able to see this 3-dimenstionally and to scale, has made a huge difference. With the basics drawn out on this programme, I can manipulate the interior more easily and more quickly.

Before the Easter break began, I did some planning. I thought to go through the Learning Outcomes and Work Stages to see what needed to be done in the weeks before the Creative Conscience competition entry and Final Presentations. I went through the criteria & made sure to pick out what was appropriate to my project.

Learning Outcomes:

Learning Outcome 1: Exercise & enhance specialist knowledge & understanding. Creative & technical appropriate to IAD.

Learning Outcome 2: Complexity (according to IAD practice) & tenacity.

Learning Outcomes 3: Advanced level of communication using various representation techniques, documentation & presentations to specialist and non-specialist audiences. Time-management.

Learning Outcomes 4: Self-initiative. Teamwork. Reflection of contemporary & professional practice. Awareness of ethical, social and cultural issues (indicate responsibilities as a designer).

Work Stages:

B (Design Brief) Room requirements schedule Adjacency relationships matrix Planning diagrams Final design brief

C (Concept) Initial FF&E layouts Initial mood boards Evaluation - surveys & site information Concept scheme drawings (general arrangement & conceptual proposals for structural and building service systems) Materials schedule

D (Design Development) Location of items of FF&E Location of service points Draft schedules (e.g. internal finishes, sanitary) Developed design drawings (detailed arrangement of spaces - plans, sections, elevations, perspectives, 3D) Outline specification (materials schedule)

E (Technical Design) Specific location of ff&e on technical drawings Final schedules (internal finishes, sanitary and electrical fittings, lighting, doors, ff&e etc) Sample boards (materials, finishes, colours) Location of service points Technical design drawings One final specification

F (Production Information) Product information drawings (showing all construction elements integrating structure and services i.e. joinery, sanitary, lighting and electrical fittings)

It’s getting there slowly but surely. Now for the Easter break - Happy Easter everyone!

[both-sides-of-the-zambezi]

Monica Sianbunkululu

“The radio really helped me...”

“Radio programmes for the community...”

“At the Lwindii ceremony for the first time…”

At the time I was staying with Zongwe FM, in August 2016, I found two young ladies working there in a group of five youths presenters. Following the recording with Patience Kabuku, here, we are sitting with Monica Kindness Sianbunkululu in the yard of Sinazongwe Primary listening to her story of how, as a lady, she found her way as a radio-maker with Zongwe FM. The children of the caretaker are playing in the yard; occasionally they try to attract our attention; we pause and listen to the girl’s singing across the yard.

Monica talks of her challenges at home for working every day at the station without bringing some money back to the family. But Monica loves her work for the community through radio and sees other benefits. She appreciates the technical knowledge she gains through her radio work and the skills of interacting in communication with very different people. The radio helped her, she says, even to find a payed job as a data collector at the road construction company. These days, she’s trading fish for her upkeep. In July, Monica witnessed Lwindii ceremony for the first time. Zongwe FM is doing live broadcasts from the festival. She describes for us what she has seen and heard at Lwindii.

In track 3, Monica summarizes her story in the local language, ChiTonga; I encourage her to do so to open-up our conversation to ChiTonga speakers on both sides of Lake Kariba. Monica explains to us at once that, even though, she’s Tonga, she grew up with her grandmother in the Bemba language; so ChiTonga is her second language.

Zongwe FM is a community radio station in Sinazongwe, Southern Province of Zambia.

listen via the sound map on aporee radio

[saintsylvester-blog]

Cleaned up. The Chitonga word for friendship.

[gidemy]

ECZ Grade 12 chitonga p1 2017 gce

[both-sides-of-the-zambezi]

Tonga women on the way to their own media production

From April - November 2016, Zubo Trust joint forces with radio continental drift/ Claudia Wegener to train Zubo staff and six community based facilitators (CBFs) in audio recording and production. 

“Women documenting Women Stories” is the name of the task and the radio project with Zubo’s women.

The playlist of recordings from the workshop days can document a bit of the journey, which we traveled together in exploring the use of audio recorders among the women Zubo is working with in rural Binga. The playlist showcases a selection of our recordings over three days together, and does so in footage recordings, including our trials to say what we mean, and our giggles.

On the journey, which you can follow in the recordings, we practiced listening, to others, in interviews and, to ourselves; we explored storytelling and the power of detailed description on a listener; we learned how to talk with machines and how to listen carefully to their playback; we explored the tools of communication, how to encourage our counterparts to enjoy themselves in storytelling; we discussed where we come from and where we wish to go to, or not to go to… ; we practiced translation, listened to the strange sounds of foreign, African languages and, again and again, to the curious sound of ourselves as we speak to others.

In July, the women went out in to their communities and captured the work of the Zubo’s women in the villages and the Women’s Forum in sound and voices. They also interviewed their elders, mothers and grandmothers, on BaTonga culture, tradition and history.

The second playlist presents a selection of the recordings which Zubo women themselves made in their local communities and includes some excerpts of statements by the young media women about their experiences as citizen journalists and oral historians in their villages.

DJ Kwe’s music flies like an acoustic beacon over our journey together with the women of Zubo Trust towards their own media work as young BaTonga business women...

“I could stand for my people...” Track 5 of DJ Kwe’s “Radio Remixes Voices of Binga” features Linda Mudimba articulately voicing her wish to represent the Tonga people as a Media Woman  (based on a recording by rcd in 2012 ).

In purchasing the Album “Radio Remixes Voices of Binga”, you’ll support the healing arts of DJ Kwe and the work of women for women across the globe. From the online sales, 50% of proceed go to project work with women in Binga via Zubo Trust and Basilwizi Trust.

Twalumba loko.

Thank you for listening.

[both-sides-of-the-zambezi]

Patience Kabuku

I’m assistant secretary at Zongwe FM...

A radio-exchange with the world...

We are sitting together with Patience Kabuku in the shade of one of the doorways to a classroom at Sinazonwe Primary School. The door to Zongwe FM studio is just across the yard from us. It’s Saturday afternoon; you’ll hear the singing from church congregations somewhere nearby. A match at the football pitch is due; occasionally, a motorcycle-taxi crosses the school grounds and interrupts our conversation for a moment. 

Patience is one of the youth volunteers at Zongwe FM community radio. After completing her secondary schooling in 2014, she started joining the activities at Zongwe, she tells us. She’d like to go to college and study health care; but for the time being and lacking funds, she believes, that she can also serve her community as a radio-announcer. Currently Patience holds the job of an assistant secretary at Zongwe FM. She loves her work at the radio station and describes to us in detail the daily routine at the studio, the opportunities she sees, and the short-comings. We also talk about her ideas for programmes she’d like to bring on air; health and inspiring the youths are on her mind. 

Patience mother-tongue is Lozy; she moved to Sinazongwe with her sisters and parents from Zambia’s Eastern Province. She’s comfortable chatting with me in English; but I also encourage her to speak some summery of our conversation in ChiTonga – to open our recorded conversation to ChiTonga speakers on both, the Zambian and the Zimbabwean sides of Lake Kariba.

Listen on the All Africa Sound Map

Zongwe FM is a community radio station in Sinazongwe, Southern Province of Zambia.

[both-sides-of-the-zambezi]

Janet and Luyando

Janet's first response and song

"Red beads on the bed..."

"Zambezi water for the spirits..."

Luyando talks to her aunt Janet about female initiation rights in front of related artifact at the BaTonga Museum in Binga (in ChiTonga with summary translations; Luyando Muyalali interviews and translates). Basilwizi Trust

6 Nov. 2012, (65:23); link to the playlist and further intro

if your network connection is slow, try downloading as ogg vorbis files or stream via your media player