Agreement for dance performances by Isadora Duncan on January 25, 27 and 30, 1905. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 27 September, 1904, and representative for Neuen Operetten-Théaters [illegible], Hamburg, 29 September 1904.
Contract for performance by Isadora Duncan on October 5. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 23 September 1904, and Theodor Brandt, Stuttgart, September 1904.
Contract for performance by Isadora Duncan on October 3. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 8 September 1904 and representative for Stadt-Théaters [illegible], 18 September 1904.
Contract for dance performance by Isadora Duncan on January 5. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 6 September 1904 and Otto Lokse?], Cöln, 15 September 1904.
Contract for dance performance by Isadora Duncan on November 17. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 2 September 1904, and [Adolf] Steinert, Mainz, 6 September 1904.
Contract for performance by Isadora Duncan on October 12. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 1 September 1904 and representative [illegible] for Stadt-Théaters, Leipzig, 6 September 1904.
Contract for dance performance by Isadora Duncan on November 17. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 6 October 1904, and representative [illegible] for Stadt-Théaters, 10 October 1904.
Contract for performances by Isadora Duncan, December 28 and 29, 1904. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 14 November 1904, and representative [illegible] for Central-Théaters, Dresden, 17 November 1904.
Contract for dance performance by Isadora Duncan on November 15. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 9 November 1904, and representative [illegible] for Stadt-Théaters, no date. Stamped "Theater-Direction Heinrich Hagin."
Contract for performance by Isadora Duncan on June 12. Signed for Isadora Duncan by [illegible], Eremitage, 8 June 1904 and Eugen Pfeiffer, Heidelberg, 12 June 1904.
Contract for performance by Isadora Duncan on December 9. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 31 August 1904, and a representative [illegible] for Stadt-Théaters, 2 September 1904.
Contract for performances by Isadora Duncan on November 19 and 24. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, August 26, 1904, and Julius Rudolph, Hannover, 29 August 1904.
Contract for performances by Isadora Duncan on September 3 and 25. Signed by Elizabeth Duncan for Isadora Duncan, Berlin, 20 August 1904, and [Heinrich Hagin], no date. blah
SWAHILI: Waraka huu uko na mashairi matatu. Shairi la kwanza linaitwa "Kitanda" na linazungumzia wajibu wa mwanamke kwa kutayarisha kitanda wanachotumia na mume wake. (Kwa mfano kiwe safi na kunukia vizuri, kueka maua). Pia linaongelea umuhimu wa kutayarisha chakula kizuri na mwanamke kumpikia mume wake. Shairi la pili kwa jina la "Harusi ya Zulfa" linazungumzia kuhusu ndoa na wajibu wa wanandoa. Shairi la tatu "Wasia kwa Rukia" linazungumzia kutojibizana na watu maneno mabaya na kuzungumza mambo yasiyo na faida, poa linazungunzia umuhimu wa kuweka nyumba safi na kuheshimu wakwe zako.<br>ENGLISH: This manuscript contains three poems. The first one is titled Kitanda and talks about a wife's duty to prepare the bed well (e.g. make it smell nice, putting flowers on the bed) they are sharing together. It also mentions the importance of good food and cooking for one's husband. The second poem is titled Harusi ya Zulfa. It discusses marriage and the responsibilities within marriage as partners. The third poem is titled Wasiya kwa Rukia. It discusses how it's good manners to not badmouth people and talk negatively, as well as keeping the house clean and respecting your in-laws.
SWAHILI: Daftari la Kimwondo lina mashairi mawili tofauti (namba 6 na 7). Kimwondo cha kwanza kinazungumzia hofu ya Ustadh Mau ya kupotea lahaja ya kiamu. Ustadh Mau anawataka wananchi wa Lamu kuelewa thamani ya Lugha yao na kuitumia lugha hiyo hasa kwa kuisoma, kuiandika na kuifundisha kwa vijana. Anabainisha kuwa lugha yetu ndio utambulisho wetu na tusipoilinda basi tuko kwenye hatari kubwa ya kupoteza utambulisho wetu. Shairi la pili ni shairi la kisiasa linalosawiri uzalendo na uaminifu wa watu wa Lamu kwa rais wa Kenya. Ustadh Mau anawalinganisha wanasiasa walafi na wanyama pori ambao ni wakorofi na wasio na amani. Anamlinganisha mbunge wa Lamu ambaye hakuwahi kuwakilisha masilahi yao bungeni na yule wa hivi majuzi ambaye ana masilahi ya watu wa Lamu moyoni.<br>ENGLISH: The notebook Kimwondo has two different poems (number 6 and 7). The first Kimwondo talks about Ustadh Mau's fear of the kiamu dialect getting lost. Ustadh Mau urges the people of Lamu to understand the value of their Language and to put the language in use especially by reading, writing and teaching it to the young ones. He notes that our language is our identity and if we do not protect it then we are at a higher risk of loosing our identity. The second poem is a political poem portraying the patriotism and loyalty of the people of Lamu to the president of Kenya. Ustadh Mau compares the greedy politicians to wild animals who are chaotic and unpeaceful. He compares the Lamu member of parliament who never represented their interests in parliament to the recent one who has the interests of the people of Lamu at heart.
SWAHILI: Kimwondo lina mashairi mawili tofauti (shairi nambari 6 na 7). Tenzi zote mbili zinahusu kampeni za siasa za hapa lamu. Utungo wa mashairi haya mawili yametafautiana baina ya moja na lingine.<br>ENGLISH: The notebook Kimwondo has two different poems (number 6 and 7). They were both written for a political campaign on Lamu. The structures of the two poems are different from one another.