Songs and Politics in Eastern Africa

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Songs and Politics in Eastern Africa brings together important essays on songs and politics in the region and beyond. Through an analysis of the voices from the margins, the authors (contributors) enter into the debate on cultural productions and political change. The theme that cuts across the contributions is that songs are, in addition to their aesthetic appeal, vital tools for exploring how political and social events are shaped and understood by citizens. Urbanization, commercialization and globalization contributed to the vibrancy of East African popular music of the 1990s which was marked by hybridity, syncretism and innovativeness. It was a product of social processes inseparable from society, politics, and other critical issues of the day. The lyrics explored socials cosmology, worldviews, class and gender relations, interpretations of value systems, and other political, social and cultural practices, even as they entertained and provided momentary escape for audience members. Frustration, disenchantments, and emotional fatigue resulting from corrupt and dictatorial political systems that stifle the potential of citizens drove and still drive popular music in Eastern Africa as in most of Africa. Songs and Politics in Eastern Africa is an important addition to the study of popular culture and its role in shaping society.

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Publié par
Date de parution 15 octobre 2007
Nombre de lectures 2
EAN13 9789987081080
Langue English

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Songs and Politics in Eastern Africa
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Sôŝ à Pôçŝ  Eàŝé Açà
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Pubŝé  2007 by Mkuk à Nyôà Pubŝéŝ P.O. Bôx 4246 Dà éŝ Sàààm, àzàà
© 2007, ’ïŝu àÇàŝ é éçéçé é Aqué (ïRA-Nàôb) P.O. Bôx 58480 – 00200 Nàôb, Kéyà
ïSBN 9987 - 449 - 42 - 5
A ŝ éŝévé
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Table of Contents
Foreword...........................................................................i.............x..
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Relîgîous Versîicatîon: from Depolîtîcîsatîon to Repolîtîcîsatîon by Kmà NJOGU............................................................................ 1
L’întellectuel populaîre et l’îmagînaîre polîtîque : Le cas de Josep Kamaru by Hév MAUPEU ........................................................................ 23 Kamaru, un prophète kikuyu chrétien........................................... 28 à éô pôpqué çômmé çàé é çômpéŝô u pôqué ................................................................................................ 32 Une pédagogie du changement..................................................... 32 Une théorie de la causalité35............................................................ Kàmàu é é éôuvéàu u àôàŝmé kkuyu ................................. 36 Un leader et pas un despote.......................................................... 37 Les élections comme mode populaire d’action politique................. 40 Les femmes et le nationalisme kikuyu contemporain..................... 42 Conclusion : Kamaru et les autres mises en scène kikuyu de la nation................................................................................. 45 Artîstîc Dîscourse and Gender Polîtîcs în te Gĩkũyũ Popular Song........................................................................ by Mçàé W. MWAŨRA .............................................................. 49 Approach and method....................................................05..............Rôôŝ  pààçy ô pôpuà ŝô éxpéŝŝô.................................... 51 Pààçà ààôŝ ............................................................................... 53 Ey ô é Quéé: é wômà àkŝ bàçk............................................ 62 Conclusion.................................................................................. 70 he Poetîcs of Gîkũyũmwômbôkô: Narratîve as a Tecnîque în HIV-AIDS Awareness Campaîgn în Rural Kenya by Mwà P. MŨHORO .............................................................. 73 Introduction................................................................................ 73 Sôçô-ŝôçà ôŝ ôMwombokopôéy ...................................... 74 Péômàçé ôMwombokopôéy......................................................... 77 v
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Aàémé à àçé môvéméŝ Mwomboko............................ 78 Muŝç à ééàmé  éŝpôŝé ô HïV-Aŝ àwàééŝŝ........... 82 hé àuàé ôMwombokoŝéŝ ....................................................... 84 Conclusion.................................................................................. 92 Hîp-op în Naîrobî: recognîtîon of an înternatîonal movement and te maîn means of expressîon for te urban yout în poor resîdentîal areas by Auà ERRARï ..................................................................... 107 ôm ŝéé “ee sye”, ô é ŝuô, ô é ŝàé: é çàŝé ô Kààmàŝàkà à Màu Màu çàmp ........................................................ 110 The beginning of hip-hop in Nairobi........................................... 110 &KHHGTGPV KPƀWGPEGU.................................................111................... The beginning of success............................................................. 112 Problems encountered................................................................ 115 The rappers’ hopes...................................................................... 116 yçŝ: é vŝô béwéé mà à ô-mà àp .............. 117 Language of choice..................................................................... 117 Major themes covered................................................................. 118 Conclusion................................................................................ 124 Folk poetry as a weapon of struggle: an analysîs of te Caka Mcaka resîstance songs of te natîonal resîstance movement/army of Uganda by Muŝàmbày KAUMANGA ................................................... 129 Introduction.............................................................................. 129 Réŝŝàçé pôçéŝŝ à môbŝàô .................................................... 130 Mosaic Types.............................................................................. 138 Fixed Line Folklores...............................................................14....2 Narrative Poetics....................................................................... 147 Etnîc Identîty and Stereotypes în Popular Musîc:Mugiithi Performance în Kenya by Màà wà MŨONYA ............................................................ 157 Introduction.............................................................................. 157 Muŝç à ïéy .................................................................................. 162 Sééôypéŝ à Eç ïéy............................................................. 164 Cuuà Nŝ ........................................................................................ 170 Màu Màu yçŝ ....................................................................................... 170 Conclusion................................................................................ 172
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Song and Polîtîcs : te case of D. Owîno Mîsîanî by Aàmŝ OOO ........................................................................... 177 Introduction.............................................................................. 177 uô muŝç à é Kéyà pôçà ŝçéé........................................... 181 Owô Mŝà ......................................................................................... 182 Béyô Kéyà: Mŝà ô ôvéàçé  Açà................................ 183 Aàyŝ é Kéyà pôçà ŝçéé ôu muŝç ........................ 185 Càé ô àçç: ôm çôôvéŝy ô ŝuppô ô é Gôvémé ............................................................................................. 192 Réu ô çôôvéŝy ............................................................................. 193 Conclusion................................................................................ 198 Orature of Combat: Cultural Aestetîcs of Song as Polîtîcal Actîon în te Performance of te Mau Mau Songs by Bàu MWAURA ..................................................................... 201 hé Aéŝéçŝ ô Gkuyu Oàué  é Màu Màu Sôŝ ................ 204 Sô àŝ Pôçà Açô .......................................................................... 216 Sô àŝ Oàué ô Cômbà.................................................................... 220 Resîstance and Performance Dynamîcs: te case ofbusungusunguvîgîlantes’ dance of te Sukuma of Tanzanîa by Hébé . MAKOYE ............................................................... 225 Introduction.............................................................................. 225 hé Sukumà à Suuŝuu ............................................................... 226 Dàçé à ŝô àŝ à méàŝ ô çômmuçàô .................................. 228 Conclusion................................................................................ 240
Musîc and Polîtîcs în Tanzanîa: a case study of NyotawaCigogo by ôw Pàu NYONï ................................................................ 241
Introduction.............................................................................. 241 Muŝç ômŝ  àzàà ........................................................................ 242 Kwaya........................................................................2.......42........Taarab...................................................................................... 243 Jazz-band44..............2..................................................................... Dance........................................................................524................ Ngonjera................................................................................... 246 Hŝôçà Ovévéw ô Muŝç à Pôçŝ  àzàà ..................... 246 The early days of independence................................................... 246 vii
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The Arusha Declaration................................248............................. Party supremacy and its control over the arts...2....49....................... Democratisation process (multiparty political system) ................. 252 Càŝé Suy:Nyoà-wà-Cîgogo................................................................ 253 Nyota-wa-Cigogo: performance.................................................. 261 Conclusion................................................................................ 270 Hîp-op, Westernîzatîon and Gender în East Afrîca by Mwéà NARANGWï ......................................................... 273 Introduction.............................................................................. 273 hé Emééçé ô Hp-Hôp  Eàŝ Açà .......................................... 275 Hp-Hôp  Eàŝ Açà: à éw péôméô ô ô àô? ........ 281 Hp-Hôp à Wéŝézàô ................................................................ 284 Hp-ôp à Gééé ïééŝ ......................................................... 290 Conclusions............................................................................... 299 hematîsîng Electîon Polîtîcs în Swalî Epîc: te case of Mamoud Abdulkadîr by Ràyyà ïMAMMY ................................................................... 303
Formatîon of a Popular Musîc: Hîp-op în Tanzanîa by Açé BANCE ......................................................................... 315
Introduction.............................................................................. 315 *KRJQR C FGſPKVKQP................136.................................................. Gôbàŝàô ô à çuué: é çàŝé ô àzàà p-ôp................. 318 From New York ghettos to Dar es Salaam.................................. 318 Introduction of hip-hop in Tanzania, a contemporary of uwazi.. 322 Heavy resistance to “muziki ya kihuni”...............................342....... From American mimicry to the original creation of rap in Kiswahili..........................................................................................327 Initial attempts to promote hip-hop............................................ 330 Improved media coverage and popularization of hip-hop............ 332 The consecration of Kiswahili rap—mapinduzi halisi ya Bongo Flava......................................................................................... 334 CôImàô ô p-ôp w pôçà à ŝôçà éàŝ.............. 338 The spokespeople for a society in crisis......................................... 339 Political and civic rap................................................................ 346
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Artistes’ involvement in the defence and maintenance of authentic hip-hop rap................................................................................ 351 Conclusion................................................................................ 352 he endurîng power of Somalî “oral polîtîcal poetry”: songs and poems of peace în te mîdst of caos by Càà OGAN ...................................................................... 355 hé Sômà çŝŝ: à pôçà méu àvôuàbé ô é ŝpôké wô 357 Oà pôçà pôéy: à ubôké çôuum................................... 361 Péàçé màk à pôéy ....................................................................... 365 Wômé à péàçé pôéy ...................................................................... 368 If you’re ugly, know ow to sîng: aestetîcs of resîstance and subversîon by upéà MPHANDE............................................................... 377
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