Musical Property Rights Regimes in Tanzania and Kenya after TRIPS (IPR) legislation by a given deadline. Each East African country needed to comply with TRIPS by either 2005 (for developing countries, such as Kenya) or 2021 (for less developed countries, such as Tanzania and Uganda). 2 In order to address the significantly outdated laws, however, each country passed new legislation well before their deadlines. In terms of copyright law, Tanzania updated their laws in 1999, followed by Kenya in 2001, and Uganda in 2006. Each of these countries also became members of the African Regional Intellectual Property Organization (ARIPO), which requires countries to harmonize their laws with other member countries, and the East African Community (EAC), which aims to promote national and regional protection of IPR.

Keywords: commentary, acoustemology, Islam, Kenya, sound, space, Swahili coast

This Phase II study demonstrated that therapy with IFNgamma in patients with metastatic carcinoid tumor was well-tolerated, but did not produce significant antitumor effects. The overall results were somewhat comparable to those previously seen with alpha interferons as well as cytotoxic drugs.

The Muslim-dominated ‘Swahili coast’ has always served as a conceptual as well as physical periphery for post-colonial Kenya. This article takes Kenyan youth music under the influence of global hip-hop as an ethnographic entry into the dynamics of identity and citizenship in this region. Kenyan youth music borrows from global hip-hop culture the idea that an artist must ‘represent the real’. The ways in which these regional artists construct their public personae thus provide rich data on ‘cultural citizenship’, in Aihwa Ong's (1996) sense of citizenship as subjectification. I focus here on youth music production in the Kenyan coastal city of Mombasa between 2004 and 2007. During this time, some local artists adopted a representational strategy that subtly reinscribed the symbolic violence to which members of the coast's Muslim-Swahili society have long been subjected. I examine the representational strategies that were adopted during this period by Mombasan artists who happened to be members of the Muslim-Swahili society (‘subjects of the Swahili coast’, as I name them), with an ethnographic eye and ear trained on what they say about the ways in which young subjects of the Swahili coast are objectified and subjectified as ‘Kenyan youth’ in the twenty-first century.

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