Introduction to Physical Geography

(a). Introduction to Geography

Introduction The main objective of this online textbook is to introduce students to the exciting field of knowledge known as physical geography. Physical geography is a discipline that is part of a much larger area of understanding called geography. Most individuals define geography as a field of study that deals with maps. This definition is only partially correct. A better definition of geography may be the study of natural and human constructed phenomena relative to a spatial dimension. The discipline of geography has a history that stretches over many centuries. Over this time period, the study of geography has evolved and developed into an important form of human scholarship. Examining the historical evolution of geography as a discipline provides some important insights concerning its character and methodology. These insights are also helpful in gaining a better understanding of the nature of physical geography. History of Geography and Physical Geography Some of the first truly geographical studies occurred more than four thousand years ago. The main purpose of these early investigations was to map features and places observed as explorers traveled to new lands. At this time, Chinese, Egyptian, and Phoenician civilizations were beginning to explore the places and spaces within and outside their homelands. The earliest evidence of such explorations comes from the archaeological discovery of a Babylonian clay tablet map that dates back to 2300 BC. The early Greeks were the first civilization to practice a form of geography that was more than mere map making or cartography. Greek philosophers and scientist were also interested in learning about spatial nature of human and physical features found on the Earth. One of the first Greek geographers wasHerodotus (circa 484 - 425 BC). Herodotus wrote a number of volumes that described the human and physical geography of the various regions of the Persian Empire. The ancient Greeks were also interested in the form, size, and geometry of the Earth. Aristotle (circa 384 - 322 BC) hypothesized and scientifically demonstrated that the Earth had a spherical shape. Evidence for this idea came from observations of lunar eclipses. Lunar eclipses occur when the Earth casts its circular shadow on to the moon's surface. The first individual to accurately calculate the circumference of the Earth was the Greek geographerEratosthenes (circa 276 - 194 BC). Eratosthenes calculated the equatorial circumference to be 40,233 kilometers using simple geometric relationships. This primitive calculation was unusually accurate. Measurements of the Earth using modern satellite technology have computed the circumference to be 40,072 kilometers. Most of the Greek accomplishments in geography were passed on to the Romans. Roman military commanders and administrators used this information to guide the expansion of their Empire. The Romans also made several important additions to geographical knowledge. Strabo (circa 64 BC - 20 AD) wrote a 17 volume series called "Geographia". Strabo claimed to have traveled widely and recorded what he had seen and experienced from a geographical perspective. In his series of books, Strabo describes the cultural geographies of the various societies of people found from Britain to as far east as India, and south to Ethiopia and as far north as Iceland. Strabo also suggested a definition of geography that is quite complementary to the way many human geographers define their discipline today. This definition suggests that the aim of geography was to "describe the known parts of the inhabited world ... to write the assessment of the countries of the world [and] to treat the differences between countries". During the second century AD, Ptolemy (circa 100 - 178 AD) made a number of important contributions to geography. Ptolemy's publication Geographike hyphegesis or "Guide to Geography" compiled and summarize much of the Greek and Roman geographic information accumulated at that time. Some of his other important contributions include the creation of three different methods for projecting the Earth's surface on a map, the calculation of coordinate locations for some eight thousand places on the Earth, and development of the concepts of geographical latitude and longitude (Figure 1a-1). Figure 1a-1: This early map of the world was constructed using map making techniques developed by Ptolemy. Note that the map is organized with crisscrossing lines of latitude and longitude. Little academic progress in geography occurred after the Roman period. For the most part, the Middle Ages (5th to 13th centuries AD) were a time of intellectual stagnation. In Europe, the Vikings of Scandinavia were the only group of people carrying out active exploration of new lands. In the Middle East, Arab academics began translating the works of Greek and Roman geographers starting in the 8th century and began exploring southwestern Asia and Africa. Some of the important intellectuals in Arab geography were Al-Idrisi, Ibn Battutah, and Ibn Khaldun. Al-Idrisi is best known for his skill at making maps and for his work of descriptive geography Kitab nuzhat al-mushtaq fi ikhtiraq al-afaq or "The Pleasure Excursion of One Who Is Eager to Traverse the Regions of the World". Ibn Battutah and Ibn Khaldun are well known for writing about their extensive travels of North Africa and the Middle East. During the Renaissance (1400 to 1600 AD) numerous journeys of geographical exploration were commissioned by a variety of nation states in Europe. Most of these voyages were financed because of the potential commercial returns from resource exploitation. The voyages also provided an opportunity for scientific investigation and discovery. These voyages also added many significant contributions to geographic knowledge (Figure 1a-2). Important explorers of this period include Christopher Columbus, Vasco da Gama, Ferdinand Magellan, Jacques Cartier, Sir Martin Frobisher, Sir Francis Drake, Johnand Sebastian Cabot, and John Davis. Also during the Renaissance, Martin Behaim created a spherical globe depicting the Earth in its true three-dimensional form in 1492. Behaim's invention was a significant advance over two-dimensional maps because it created a more realistic depiction of the Earth's shape and surface configuration. Figure 1a-2: This map was constructed by Oliva in 1560. It describes the known world at this time and suggests that North America is part of Asia. Further exploration of the world would soon reject this idea. In the 17th century, Bernhardus Varenius (1622-1650) published an important geographic reference titled Geographia generalis (General Geography: 1650). In this volume, Varenius used direct observations and primary measurements to present some new ideas concerning geographic knowledge. This work continued to be a standard geographic reference for about a 100 years. Varenius also suggested that the discipline of geography could be subdivided into three distinct branches. The first branch examines the form and dimensions of the Earth. The second sub-discipline deals with tides, climatic variations over time and space, and other variables that are influenced by the cyclical movements of the Sun and moon. Together these two branches form the early beginning of what we collectively now call physical geography. The last branch of geography examined distinct regions on the Earth using comparative cultural studies. Today, this area of knowledge is called cultural geography. During the 18th century, the German philosopher Immanuel Kant (1724-1804) proposed that human knowledge could be organized in three different ways. One way of organizing knowledge was to classify its facts according to the type of objects studied. Accordingly, zoology studies animals, botany examines plants, and geology involves the investigation of rocks. The second way one can study things is according to a temporal dimension. This field of knowledge is of course called history. The last method of organizing knowledge involves understanding facts relative to spatial relationships. This field of knowledge is commonly known as geography. Kant also divided geography into a number of sub-disciplines. He recognized the following six branches: Physical, mathematical, moral, political, commercial, and theological geography. Geographic knowledge saw strong growth in Europe and the United States in the 1800s. This period also saw the emergence of a number of societies interested in geographic issues. In Germany, Alexander von Humboldt, Carl Ritter, and Fredrich Ratzel made substantial contributions to human and physical geography. Humboldt's publication Kosmos (1844) examines the geology and physical geography of the Earth. This work is considered by many academics to be a milestone contribution to geographic scholarship. Late in the 19th Century, Ratzel theorized that the distribution and culture of the Earth's various human populations was strongly influenced by the natural environment. The French geographer Paul Vidal de la Blanche opposed this revolutionary idea. Instead, he suggested that human beings were a dominant force shaping the form of the environment. The idea that humans were modifying the physical environment was also prevalent in the United States. In 1847, George Perkins Marsh gave an address to the Agricultural Society of Rutland County, Vermont. The subject of this speech was that human activity was having a destructive impact on land, especially through deforestation and land conversion. This speech also became the foundation for his book Man and Nature or The Earth as Modified by Human Action, first published in 1864. In this publication, Marsh warned of the ecological consequences of the continued development of the American frontier. During the first 50 years of the 1900s, many academics in the field of geography extended the various ideas presented in the previous century to studies of small regions all over the world. Most of these studies used descriptive field methods to test research questions. Starting in about 1950, geographic research experienced a shift in methodology. Geographers began adopting a more scientific approach that relied on quantitative techniques. The quantitative revolution was also associated with a change in the way in which geographers studied the Earth and its phenomena. Researchers now began investigating process rather than mere description of the event of interest. Today, the quantitative approach is becoming even more prevalent due to advances in computer and software technologies. In 1964, William Pattison published an article in the Journal of Geography (1964, 63: 211-216) that suggested that modern Geography was now composed of the following four academic traditions: Spatial Tradition - the investigation of the phenomena of geography from a strictly spatial perspective. Area Studies Tradition - the geographical study of an area on the Earth at either the local, regional, or global scale. Human-Land Tradition - the geographical study of human interactions with the environment. Earth Science Tradition - the study of natural phenomena from a spatial perspective. This tradition is best described as theoretical physical geography. Today, the academic traditions described by Pattison are still dominant fields of geographical investigation. However, the frequency and magnitude of human mediated environmental problems has been on a steady increase since the publication of this notion. These increases are the result of a growing human population and the consequent increase in the consumption of natural resources. As a result, an increasing number of researchers in geography are studying how humans modify the environment. A significant number of these projects also develop strategies to reduce the negative impact of human activities on nature. Some of the dominant themes in these studies include: environmental degradation of the hydrosphere, atmosphere, lithosphere, and biosphere; resource use issues; natural hazards; environmental impact assessment; and the effect of urbanization and land-use change on natural environments. Considering all of the statements presented concerning the history and development of geography, we are now ready to formulate a somewhat coherent definition. This definition suggests that geography, in its simplest form, is the field of knowledge that is concerned with how phenomena are spatially organized. Physical geography attempts to determine why natural phenomena have particular spatial patterns and orientation. This online textbook will focus primarily on the Earth Science Tradition. Some of the information that is covered in this textbook also deals with the alterations of the environment because of human interaction. These pieces of information belong in the Human-Land Tradition of geography.

MGAWANYO WA TANZU NA VIPERA VYA FASIHI SIMULIZI.

Katika makala hii tunaanza na kuelezea maana ya fasihi, fasihi fasihi simulizi kwa kutumia wataalam mbalimbali, baada ya kuelewa vizuri dhana hizi tutajadili vigezo vilivyotumika katika mgawanyo wa tanzu na vipera vya fasihi simulizi katika makala ya M.M Mulokozi (1989) na hatimaye tutaangalia ubora na udhaifu wa uainishaji wa tanzu hizo, na kumalizia na hitimisho, kielelezo na mwisho marejeo.

Fasihi ni sanaa itumiayo lugha ili kufikisha ujumbe kwa jamii bila kujali kuwa imeandikwa au haijaandikwa. Fasihi ambayo haijaandikwa ni fasihi simulizi na fasihi iliyoandikwa ni fasihi andishi.

Ama kuhusu Fasihi simulizi, Wamitila ( 2002) anaeleza kuwa Fasihi simulizi ni fasihi ambayo huwasilishwa kwa njia ya mdomo kwa kusimuliwa, kuimbwa , kutongolewa au kughanwa.

Naye Mulokozi (1996) anaelezea kuwa fasihi simulizi ni fasihi inayotungwa au kubuniwa kichwani na kuwasilishwa kwa njia ya mdomo na vitendo bila maandalizi.

Kwa ujumla fasihi simulizi ni fasihi inayotungwa au kubuniwa kichwani na kuwasilishwa kwa njia ya masimulizi  ya mdomo na vitendo bila maandishi.

Katika makala ya M.M Mlokozi (1989) katika mulika ya 21 amejaribu kuzigawa tanzu za fasihi simulizi ya Tanzania katika tanzu zake mahususi kwa kuzingatia VIGEZO vifuatavyo;

Umbile na tabia ya kazi inayohusika;upande wa umbile na tabia ya kazi ya sanaa ameangalia vipengele vya ndani vinavyoiumba sanaa na kuipa mwelekeo au mwenendo ilionao.Vipengele hivyo ni namna lugha inavyotumika(kishairi,kinathali,kimafumbo,kiwimbo, kighani nakadharika) pia muundo wa fani hiyo na wahusika kama wapo.

Kigezo cha pili ni muktadha na namna ya uwasilishaji wake kwa hadhira (hili linazingatia pia dhima yake kijamii) hapa Mulokozi amezingatia ukweli wa msingi kuwa fasihi simulizi ni sanaa inayo pita, isiyofungwa katika umbo maalum, wala matini maalum yasiyo badilika. Fasihi simulizi inatawaliwa na vitu muhimu vitatu yaani watu, wakati na mahali. Mwingiliano huu ndio muktadha, na muktadha ndio unaamua fani fulani ya fasihi simulizi ichukue umbo lipi? Iwasilishe vipi kwa hadhira, kwenye wakati na mahali hapo.

Zifuatazo ni tanzu na vipera vya fasihi simulizi kama zilivyoainishwa na M.M.Mlokozi(1989) katika mulika 21 na jinsi alivyo ziainisha kwa kutumia vigezo hivi viwili, yaani kigezo cha umbile na tabia ya kazi inayohusika na kigezo cha muktadha na namna ya uwasilishwaji kwa hadhira, na vipera vyake.

M.M.Mulokozi ameainisha tanzu sita ambazo ni; mazungumzo, masimulizi, maigizo (drama) ushairi semi na ngomezi (ngoma).Hivyo ufuatao ni uainishaji wa tanzu hizi za fasihi simulizi na vipera vyake kwa kutumia vigezo vya Mulokozi katika mulika ya 21.

Mazungumzo, ni maongezi au maelezo ya mdomo katika lugha ya kawaida, juu ya jambo lolote lile. Si kila mazungumzo ni fasihi mazungumzo ili yawe fasihi lazima yawe na usanii wa aina fulani, na uhalisia baada ya kuunakili.

Tanzu zinazoingia katika fungu la mazungumzo; Hotuba, Malumbano ya watani, Ulumbu, Soga na mawaidha. Katika kuainisha tanzu hizi ndani ya mazungumzo M.M.  Mulokozi ametumia vigezo vyote viwili; Hotuba, malumbano ya watani, ulumbu, soga na mawaidha. Kwa kuzingatia kigezo cha kwanza kinachozingatia msingi wa umbile na kazi inayohusika, tunaona tanzu hizi zote zina vipengele vya vinvyoumba sanaa na kuipa muelekeo au mwenendo ulionao, katika hotuba, malumbano ya watani, ulumbu, soga na mawaidha vyote vinavipegele vyake. Pia tanzu hizo zote zina maana ya lugha inayotumika. Mfano katika hotuba lugha rasmi ndiyo inayotumika, katika malumbano ya watani lugha ya kejeli mara nyingi ndio hutumika zaidi, mawaidha hutumia lugha rasmi au lugha za kikabila hutumika.

Pia katika kigezo umbile na tabia ya kazi inayohusika,katika kuainisha tanzu hizi mulokozi ametumia muundo wa fani na wahusika kama wapo.Tanzu zote hizo katika mazungumzo zina fani yake. Mfano katika malumbano ya watani ni tanzu inayozingatia fani zifuatazo; Kuna utani wa mababu, mabibi na wajukuu, utani wa mashemeji, utani wa kikabila na utanu wa marafiki. Kila kimojawapo kati ya fani hazi huwa na kanuni zake, miktadha yake na mipaka yake katika jamii zinazohusika.

Pia katika kuanisha tanzu za mazungumzo Mulokozi ametumia kigezo chake cha pili yaani kigezo kinachozingatia muktadha na namna ya uwasilishwaji wake kwa hadhira hili linazingatia pia dhima yake katika jamii kama ifuatavyo;

Ndani ya mazungumzo kuna hotuba, mawaidha, ulumbu, malumbano ya watani, soga; Tanzu hizi zote zinazingatia msingi wa fasihi kuwa ni sanaa inayopita, isiyofungiwa katika umbo maalum, wala matini yasiyobadilika. Mfano Hotuba ni sanaa inayopita, isiyofungwa katika umbo maaluma na matini yake hubadilika kulingana na matukio kama vile; matukio ya kidini, sherehe na kadharika. Hotuba hufuata wakati, watu na mahali. Katika kigezo hiki kinachozingatia muktadha na namna ya uwasilishwaji wake kwa hadhira huzingatia wakati, watu na mahali.Tunaona katika mazungumzo na tanzu zake zinazingatia wakati watu na mahali, mfano mawaidha huzingatia watu gani,wana umri gani, je ni vijana wa kiume au wa kike. Pia huzingatia mahali yaani tukio linapofanyika, mfano sebuleani au chumbani na pia wakati gani asubuhi, mchana au jioni.

Tanzu ya mazungumzo kwa ujumla imeainishwa kwa kutumia vigezo vyote viwili yaani kigezo cha umbile na tabia ya kazi inayohusika na kigezo kinachozingatia muktadha na namna ya uwasilishwaji wake kwa hadhira.

Masimulizi; ni fasihi yenye kusimulia habari  fulani.  Mulokozi (1989) anasema kuwa masimulizi ni fasihi ya kihadithi na fani zake huwa na sifa zifuatazo; hueleza atukio katika mpangilio fulani mahsusi, huwa na wahusika yaani watendaji au watendwaji katika matukio yanayosimulia, hutumia lugha ya kimaelezo, utambaji wake au utoaji wake huweza kuambatana na vitendo au ishara, na huwa na maudhui ya kweli au ya kubuni na yenye mafunzo fulani katika jamii.

Katika mulika 21 Mulokozi amegawanya masimulizi katika tanzu zifuatazo; za kihadithi na Tanzu za Kisalua.

Katika tanzu za kihadithi amezigawa katika makundi yafuatayo;

Ngano  ni hadithi za kimapokeo zitumizo wahusika kama wanyama,miti na watu kuelezea au kuonya kuhusu maisha.Utanzu huu unajumuisha fani kadhaa kama vile; istiara,mbazi,na kisa.

Tanzu za kisalua zimegawanywa katika fani zifuatazo; visakale, tarihi, visasili,. Hivyo tunaona kuwa katika uainishaji wa tanzu hii ya masimulizi mulokozi ametumia vigezo vyote viwili kama ifuatavyo; katika msingi wa umbile na tabia ya kazi inayohusika Mulokozi ameonyesha vipengele vya ndani vinavyoiumba sanaa na kuipa mwenendo ulionao. Na vipengele hivyo ni kama; lugha ya kimaelezo, maudhui, matukio na wahusika.Pia ameonyesha namna lugha inavyotumika mfano. Ngano hutumia lugha ya kimaelezo na visakale, mapisi, tarihi, kumbukumbu na visasili. Vipera hivi vyote hutumia lugha ya kimaelezo.

Pia katika msingi wa umbile na kazi inayohusika, kigezo hiki huzingatia muundo wa fani na wahusika kama wapo.Tanzu ya masimulizi ina fani zifuatazo kutokana na Mulokozi. Hueleza matukio katika mpangilio fulani mahususi, huwa na wahusika yaani watendaji au watendwaji katika matukio yanayosimuliwa, utambaji au utoaji wake huweza kuambatana na vitendo au ishara, huwa na maudhui ya kweli au ya kubuni na yenye mafunzo fulani na hutumia lugha ya kimaelezo.   

Semi ni tungo au kauli fupifupi zenye kubeba maana fulani au mafunzo muhimu katika jamii, Mulokozi ameaimisha tanzu za semi kama ifuatavyo:-

Methali ni semi fupi fupi zenye kueleza kwa muhtasari fikra au mafunzo mazito yaliyotokana na uzoefu wa jamii. Methali huwa na sehemu mbili kwanza sehemu ambayo huanzisha wazo fulani sehemu ya pili ambayo hulikanusha au kulikamilisha wazo hilo. Methali ni utanzu tegemezi ambao kutokea kwake hutegemea fani nyingine mfano maongezi, majadiliano mazito, muktadha maalum katika methali Mulokozi ameainisha tanzu hii kwa kutumia kigezo cha umbile na tabia ya kazi inayohusika, katika kigezo hiki Mulokozi ameonyesha matumizi ya lugha. Mfano methali hutumia tamathali, sitiari na mafumbo. Pia methali huwa na wahusika wa fani zake zinazojitegemea. Mfano Haraka haraka / Haina Baraka. Wahusika kuna anayeuliza Haraka haraka na anayejibu Haina Baraka. Pia lugha aliyotumia katika methali hii ni lugha ya kinathari na kishairi.

Pia methali huwa na fani zake. Mulokozi anasema methali ni utanzu tegemezi ambao kutokea kwake hutegemea fani nyingine, fani hizo ni maongezi au majadiliano mazito, muktadha maalumu, huwa na sehemu mbili sehemu ya kwanza ambayo huanzisha wazo fulani na sehemu ya pili ambayo hulikamilisha au kukanusha wazo hilo.

Ndani ya kigezo cha muktadha na namna ya uwasilishaji methali huwa na dhima ya kutoa mafunzo, kuadibisha, kuonya na kuhamasisha jamii. Methali huendana na wakati, watu na mahali kwa kuzingatia tukio pia huwa na matini yanayobadilika. Mfano Haraka haraka haina Baraka, methali hii inatoa onyo kuwa ukifanya jambo kwa haraka unaweza kukosea, hivyo polepole ndio mwendo.

Vitendawili; hizi ni usemi uliofumbwa ambao hutolewa kwa hadhira ili waifumbue. Fumbo hilo kwa kawaida huwa linafahamika katika jamii hiyo na mara nyingi lina mafunzo muhimu kwa washiriki mbali na kuwachemsha akili zao.  Vitendawili hutegemea uwezo wa kutambua, kuhusisha na kulinganisha vitu vya aina mbalimbali vilivyomo katika maumbile, ni sanaa inayojitegemea, inayotendwa na ina jisimamia yenyewe.

Katika kigezo cha umbile na tabia inayohusika vitendawili hutumia lugha ya mafumbo na huwa na washiriki yaani wahusika ambao ni yule anayetoa kitendawili na anayejibu. Mfano  Mmoja huulizaKitenawili na mwingine anajibu tega. Mfano; Kaa huku na mimi ni kae kule tumfinye mchawi (kula ugali), Mfano huu huhamasisha ushirikiano baina ya watu.

Pia vitendawili huwa na fani kama wahusika (pande mbili) wanaouliza na wanaojibu, muktadha maalumu (mazingira) katika muktadha na namna ya uwasilishaji Mulokozi amesema vitendawili huwa na mafunzo fulani zaidi ya chemsha bongo. Vitendawili huzingatia mazingira (mahali) watu na wakati maalum mfano watoto, mahali (shuleni au nyumbani) na huwa na wakati maalum.

Misimu, ni semi za muda na mahali maalum ambazo huzuka na kutoweka kutegemea mazingira maalum. Msimu ukipata mashiko ya kutosha katika jamii hatimaye huingia katika kundi la methali za jamii hiyo. Mfano  Tamu tamu mahonda ukinila utakonda.

Katika kigezo cha muktadha na namna ya uwasilishaji wake kwa hadhira misimu ni sanaa inayopita isiyofungiwa katika umbo maalum wala matini maalum yasiyobadilika. Misimu ina dhima ya kutoa mafunzo, kuonya, hutumika katika siasa pia misimu huenda na wakati, watu na mahali. Mfano Matteru (1987) anasema ‘tamu tamu mahonda ukinila utakonda’ . Katika  mfano huu unaonyesha madhara ya pombe iliyokuwa inatengenezwa na kiwanda cha mahonda (Zanzibar). Katika kigezo cha umbile na tabia ya kazi inayohusika misimu hutumia lugha isiyosanifu kwani huzuka na kutoweka mfano; mdebwedo, utajiju, yeboyebo,  buzi na kimeo.

Mafumbo ni semi za maonyo au mawaidha ambazo maana zake ni za ndani na zimefichika. Fumbo hubuniwa na msemaji kwa shabaha na hadhira maalum hivyo ni tofauti na methali ambazo ni semi za kimapokeo. Katika kigezo cha muktadha na namna ya uwasilishwaji mafumbo huwa na dhima ya kutoa maonyo na mawaidha kwa jamii kwani hubuniwa kwa hadhira maalum. Mfano  ‘Mbele ya bata kuna bata na nyuma ya bata kuna bata, jumla nina bata wangapi’? Fumbo hili huonyesha umakini katika katika kufanya kitu. Katika mafumbo ndani ya kigezo cha umbile na tabia ya kazi inayohisika huangalia namna lugha inavyotumika, katika mafumbo ambayo maana yake ya ndani imefichika mafumbo huundwa na wahusika na fani yake. Mfano yule anayetoa fumbo (anasema fumbo mfumbie mjinga ) Yule anayejibu (mwerevu ataling’amua) hapa anamainisha mjinga hawezi akalifumbua fumbo ila mwerevu hulifumbua pia mjinga anaweza akadanganywa ila mwerevu hawezi kudanganywa. Fumbo hili linahamasisha mtu afanye juhudi katika mambo ili afanikiwe kama mwerevu.

Lakabu ni majina ya kupanga ambayo baadhi ya watu hupewa au kujipatia kutokana na sifa zao za kimwili, kinasaba, kitabia au kimatendo. Majina haya huwa ni sitiari. Majina haya huweza kumsifia mtu au kumkosoa. Mfano Mkuki uwakao – Jomo Kenyatta,Sakarani – mlevi, Simba wa yuda – Haile sellasie.

Katika kigezo cha umbile na tabia inayohusika Mulokozi ameonyesha lakabu hutumia maneno yenye maana iliyofungwa na sitiari, pia lakabu huwa na wahusika yule anayepewa sifa. Mfano mkuki uwakao – Jomo Kenyatta na anayetoa sifa.

Katika muktadha na namna ya uwasilishaji lakabu huwa na dhima mbalimbali kama kusifia, mfano baba wa taifa, inatoa sifa ya utendaji bora wa kazi, simba wa yuda inaonyesha mshupavu. Mkuki uwakao inaonyesha kiongozi  mchapa kazi. Pia lakabu hukosoa na kuonya mfano sakarani- ulevi hapa inaonyesha kuwa mtu mlevi hafai katika jamii. Lakabu huwa na matini yanayobadilika, hivyo ni sanaa inayopita, lakabu hufuata watu wakati na mahali.

Ushairi, ni sanaa ya vina inayopambanuliwa kama nyimbo mashairi na tenzi. Zaidi ya kuw na vina ushairi una ufasaha wa kuwa na maneno machache au muhtasari mawazo na maono ya ushairi huvuta moyo kwa namna ya ajabu. Mulokozi (1989) anasema ushairi hupambanuliwa na lugha ya kawaida kwa kutumia lugha na mbinu za kimuktadha. Kauli za kishairi hupangwa kwa kufuata wizani maalumu na mawimbi ya sauti na mara nyingi lugha ya mkato na mafumbo hutumika ushairi una fani zinazoambatana na muziki wa ala na wakati mwingine hupata wizani wake kutokana na mapigo ya muziki huo wa ala. Mulokozi (1989) amegawa ushairi katika mafungu mawili ambayo ni nyimbo na uwasilishaji.

Nyimbo ni kila kinachoimbwa hivyo hii ni dhana panainayojumuisha tanzu nyingi za kinathari kama vile hadithi huweza katika kundi la nyimbo pindi zinapoimbwa . Vipera  vya nyimbo ni tumbuizo, bembea, kongozi, nyimbo za dini, tenzi, tendi, mbolezi, kimai, nyiso, nyimbo za vita, nyimbo za uwindaji, nyimbo za taifa, nyimbo za watoto na nyimbo za kazi.

Katika kuainisha tanzu hiii ya nyimbo Mulokozi  ametumia vigezo vyote viwili, tukianza na kigezo cha kwanza ambacho ni umbile na tabia ya kazi inayohusika Mulokozi ameonyesha jinsi vipengele vya ndani vinavyoiumba sanaa na kuipa mwelekeo. Vipengele vilivyo katika nyimbo ni namna lugha inavyotumika .

Mfano: nyimbo za maombolezo hutumia lugha za maombolezo yenye maneno ya  Kufariji  tofauti na nyimbo za sherehe huwa na lugha ya furaha na  kuchangamsha.

Katika kigezo hiki pia cha umbile na tabia ya kazi inayohusika Mulokozi ameonyesha muundo wa fani na wahusika katika nyimbo. Mfano: mambo muhimu yanayotambulisha nyimbo ( fani ya nyimbo) Muziki wa sauti ya muimbaji au waimbaji( wahusika), Muziki wa ala (kama ipo), Matini au maneno yanayoimbwa,Hadhira inayoimbiwa,Muktadha unaofungamana na wimbo huo mfano sherehe, ibada na kilio.

Pia Mulokozi katika kuainisha tanzu ya nyimbo ametumia kigezo cha pili yaani muktadha na namna ya uwasilishwaji wake kwa hadhira katika kuainisha tanzu hii ya nyimbo amezingatia wakati, watu (wahusika) na mahali. Pia nyimbo ina matini yanayobadilika, yasiyofungiwa katika umbo maalumu yaani ni sanaa inayopita.

Mfano: kuna nyimbo zinazoimbwa kwa kufuata wakati wake, mahali mahususi, na mahali maalumu, mfano wawe na vave hizi ni nyimbo za kilimo, mbolezi hizi ni nyimbo za kilio au maombolezi. Mbolezi huimbwa wakati maalumu, na waombolezaji ambao ni watu( wahusika) na mahali maalumu (mfano msibani)

Maghani ni ushairi unaotolewa kwa kalima badala ya kuimbwa. Zipo maghani za aina mbili, kuna maghani ya kawaida, ambayo huundwa na fani mbalimbali za ushairi simulizi mfano mapenzi, siasa, maombolezo, kazi za dini na kadhalika. Maghani ya masimulizi hutambwa ili kusimulia hadithi, historia au matukio fulani ambayo huambatana na nyimbo. Tanzu za maghani ni sifo, vivugo, tondozi, rara, ngano na tendi.

 Maghani ni tanzu iliyoanishwa kwa kutumia kigezo cha muktadha na namna ya uwasilishwaji wake kwa hadhira. Molokozi ameonyesha maghani huwasilishwa kwa kalima badala ya kuimba, pia dhima za maghani ni kufikisha ujumbe kwa hadhira kwa kuzingatia matukio

Mfano uhuru  kesi za mauaji

Mulokozi anasema maghani huundwa na fani mbalimbali za ushairi simulizi mfano mapenzi, siasa, maombolezo, kazi na dini. Zifuatazo ni fani za ushairi simulizi ambazo ni, Masimulizi hutolewa kishairi, huhusu matukio muhimu ya kihistoria au jamii, huelezea habari za ushujaa na mashujaa, huwasilishwa kwa kughanwa (ala ya muziki), hutungwa papo kwa papo.

Pia maghani huwa na wahusika, na huambatana na muziki wa ala. Mulokozi anasema mutambaji wa ghani hizi huitwa Yeli au Manju na kwa kawaida huwa ni bingwa wa kupiga ala fulani ya muziki (mtambaji huyu ndiye mhusika mkuu)

Maigizo, (drama) ni sanaa inayotumia watendaji kuiga tabia au matendo ya watu na viumbe wengine ili kiburudisha na kutoa ujumbe fulani. Maigizo ni sanaa inayopatikana katika makabila mengi. Mulokozi anasema drama (maigizo) ya kiafrika huambatana na ngoma mtambaji wa hadithi au matendo ya kimila. Kwa  mfano jando na unyago , yapo maigizo yanayofungana na michezo ya watoto, uwindaji , kilimo, na kadhalika. Drama hutumia maleba maalumu kama vizuizui (mask).

Katika kuainisha tanzu hii mulokozi ametumia vigezo viwili,kwa kuanza na kigezo cha kwanza Mlokozi ameainisha,mambo na vipengele vinavyopatikana ndani ya maigizo ambavyo ni maigizo yanayohusu matendo ya kimilana michezo ya watoto,matanga, uwindaji, kilimo na nyinginezo.

Kwa msingi wa umbile na tabia inyohusika vipengele vya ndani vinavyoiumba sanaa na kuipa muelekeo tanzu hii ya maigizo ni lugha inavyotumika katika kuigiza fani na wahusika mfano wahusika wa maigizo wapo na hawa ndio watendaji wakuu katika kufikisha ujumbe. Maigizo hutumia lugha mfano lugha ya kejeli na hata lugha rasmi pia maigizo huwa na fani inayotendwa.

Mulokozi Pia katika kuainisha tanzu hii ya maigizo ametumia kigezo cha pili kinachozingatia muktadha na namna ya uwasilishaji wake kwa hadhira, maigizo ni sanaa inayopita isiyofungiwa kaika umbo maalum wala matini yasiyobadilika ila maigizo hubadilika kutokana na tukio linaloigigwa na kuzingatia wakati, watu na mahali mfano maigizo huhitaji sehemu maalumu (jukwaa au uwanja wa kutendea) , wahusika ambao ndio waigizaji wakuu na pia maigizo huenda na wakati.

Ngomezi ni midundo Fulani ya ngoma kuwakilisha kauli Fulani katika lugha ya kabila hilo. Mara nyingi kauli hizo huwa ni za kishairi au kimafumbo

Mulokozi ametumia vigezo vyote viwili katika kuainisha tanzu hii, kwa kuanza na umbile na tabia ya kazi inayohusika ameangalia vipengele ndani vinavyoiumba sanaa na kuipa mielekeo na mienendo ulionao.Vipengele hivyo ni namna lugha inayotumika, kishairi, kinathari, kimafumbo, kiwimbo au kighani. Mfano, katika ngomezi hutumia lugha na kauli za kishairi au kimafumbo.

Pia kigezo hiki huangalia fani na wahusika kama wapo, katika ngomezi huwa na wahusika ambao hupiga na kuandaa ngoma hizo.hii hujionyesha katika  utofauti wa upigaji wa ngoma hizi kutokana lengo lake  ambapo inaweza kutoa taarifa, tahadhari au ngomezi za uhusiano.

Katika kigezo cha pili muktadha na namna ya uwasilishaji wake kwa hadhira Mulokozi ameonyesha jinsi ngomezi ilivyo ni sanaa ambayo huandaliwa kwa matukio maalum. Pia ngomezi hutawaliwa na vitu vitatu muhimu katika kigezo hiki ambavyo ni watu, wakati na mahali.

M.M Mulokozi katika mulika amejitahidi kuelezea na kuzigawa tanzu na vipera vya fasihi simulizi kwa kuzingatia vigezo vyote viwili, yaani umbile na tabia ya kazi inayohusika na kigezo cha muktadha na namna ya uwasilishaji wake kwa hadhira.

Pamoja na kujitahidi huko, kuna baadhi ya mapungufu ambayo yamejitokeza kama;

Mulokozi ameonyesha utenzi wa ngomezi, ila hajayuonyesha vipera au vitanzu vinavyojitokeza au kupatikana katika utanzu huu.

Mulokozi ameainisha na vipera vya fasihi simulizi lakini yeye mwenyewe anakiri kuwa bado hakuna wataalamu walioshughulikia suala hili undani zaidi kwani tanzu za fasihi simulizi hutifautiana kati ya jamii na jamii, Hivyo Mulokozi ameonyesha udhaifu wa kitaaluma

Mulokozi ameshindwa kutofautisha istilahi ya Tanzu na Vipera. Badala ya kutumia vipera yeye ametumia tanzu: vipera vya hadithi yeye anasema fungu au tanzu za kihadithi.

Mulokozi pia ameonyesha udhaifu pale anaposema misimu ikipata mashiko huingia kwenye methali, wakati misimu ikipata mashiko ya kutosha si lazima kuingizwa kwenye methali tu bali huingizwa kwenye msamiati wa lugha sanifu mfano: ngunguli, ngangali na ulanguzi

Kwa kuhitimisha tunaweza kusema kuwa, uainishaji wa tanzu na vipera vya fasihi simulizi kama vilivyoainishwa na Mulokozi vinaingiliana kifani na  kimaudhui.

KIELELEZO KINACHOONYESHA TANZU NA VIPERA VYA FASIHI SIMULIZI.