By Peter Worsley
Peter Worsley's experiences at Cambridge have been interrupted by way of conflict carrier as a communist officer within the colonial forces in Africa and India, and it used to be the following that he built a willing curiosity in anthropology. He paintings in mass schooling in Tanganyika after which studied with Max Gluckman at Manchester collage. Banned from re-entering Africa, Worsley went to Australia the place he used to be banned once again, this time from New Guinea, but he did reach finishing field-research for his Ph.D. on an Australian Aboriginal tribe.
His next e-book on 'Cargo' cults in Melanesia is now considered as a vintage, yet his left-wing politics ensured that he couldn't get a role in anthropology, so he switched to sociology, on his go back to Manchester.
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It took me a long time to realise that the linguistic situation wasn’t all that different from that of English in the UK. Swahili, like English, was a language of conquest: English, from the conquest of AngloSaxons by Norman-French-speaking invaders; Swahili, from the conquest of Bantu-speaking inhabitants of Zanzibar and adjoining islands, and the mainland opposite, by Omani Arabs from the Persian Gulf who had blown down on the monsoon winds and carved out a trading empire on the coast around Zanzibar.
The journey, over hundreds of kilometres of scrubby bush, empty apart from nomads and camels, and belts of giant termite mounds, was not interesting. Every so often there was a river, where people sold us vegetables, fruit and chickens. We never got to talk to the nomads, but were deeply impressed with how handsome most of them were, men and women. Iman, the Somali supermodel, herself the daughter of a nomad, has rightly remarked that girls like her were a ‘dime a dozen’ in Somalia. The most beautiful woman I ever saw in my life was urging a camel along with a stick.
So we taught ourselves. I did very well, with an Upper Second rating in the exams in the summer exams of 1941, after only two terms. But, because of the War, it was a wildly exciting time to be ‘up’ at Cambridge. In my first few weeks, Tommy Beecham conducted the London Philharmonic in Delius’ Paris; then I saw my first operas, when Sadler’s Wells did La Bohème and The Magic Flute in one week. The New Theatre was also excellent, and two young men called Benjamin Britten and Peter Pears gave us The Foggy Foggy Dew.