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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Relîgîous Versîicatîon: from Depolîtîcîsatîon to Repolîtîcîsatîon by Kmà NJOGU............................................................................ 1
L’întellectuel populaîre et l’îmagînaîre polîtîque : Le cas de Josep Kamaru by Hév MAUPEU ........................................................................ 23 Kamaru, un prophète kikuyu chrétien........................................... 28 à éô pôpqué çômmé çàé é çômpéŝô u pôqué ................................................................................................ 32 Une pédagogie du changement..................................................... 32 Une théorie de la causalité35............................................................ Kàmàu é é éôuvéàu u àôàŝmé kkuyu ................................. 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 te Gĩkũyũ Popular Song........................................................................ by Mçàé W. MWAŨRA .............................................................. 49 Approach and method....................................................05..............Rôôŝ pààçy ô pôpuà ŝô éxpéŝŝô.................................... 51 Pààçà ààôŝ ............................................................................... 53 Ey ô é Quéé: é wômà àkŝ bàçk............................................ 62 Conclusion.................................................................................. 70 he Poetîcs of Gîkũyũmwômbôkô: Narratîve as a Tecnîque în HIV-AIDS Awareness Campaîgn în Rural Kenya by Mwà P. MŨHORO .............................................................. 73 Introduction................................................................................ 73 Sôçô-ŝôçà ôŝ ôMwombokopôéy ...................................... 74 Péômàçé ôMwombokopôéy......................................................... 77 v
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Aàémé à àçé môvéméŝ Mwomboko............................ 78 Muŝç à ééàmé éŝpôŝé ô HïV-Aŝ àwàééŝŝ........... 82 hé àuàé ôMwombokoŝéŝ ....................................................... 84 Conclusion.................................................................................. 92 Hîp-op în Naîrobî: recognîtîon of an înternatîonal movement and te maîn means of expressîon for te urban yout în poor resîdentîal areas by Auà ERRARï ..................................................................... 107 ôm ŝéé “ee sye”, ô é ŝuô, ô é ŝàé: é çàŝé ô Kààmàŝàkà 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 yçŝ: é vŝô béwéé mà à ô-mà àp .............. 117 Language of choice..................................................................... 117 Major themes covered................................................................. 118 Conclusion................................................................................ 124 Folk poetry as a weapon of struggle: an analysîs of te Caka Mcaka resîstance songs of te natîonal resîstance movement/army of Uganda by Muŝàmbày KAUMANGA ................................................... 129 Introduction.............................................................................. 129 Réŝŝàçé pôçéŝŝ à môbŝàô .................................................... 130 Mosaic Types.............................................................................. 138 Fixed Line Folklores...............................................................14....2 Narrative Poetics....................................................................... 147 Etnîc Identîty and Stereotypes în Popular Musîc:Mugiithi Performance în Kenya by Màà wà MŨONYA ............................................................ 157 Introduction.............................................................................. 157 Muŝç à ïéy .................................................................................. 162 Sééôypéŝ à Eç ïéy............................................................. 164 Cuuà Nŝ ........................................................................................ 170 Màu Màu yçŝ ....................................................................................... 170 Conclusion................................................................................ 172
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Song and Polîtîcs : te case of D. Owîno Mîsîanî by Aàmŝ OOO ........................................................................... 177 Introduction.............................................................................. 177 uô muŝç à é Kéyà pôçà ŝçéé........................................... 181 Owô Mŝà ......................................................................................... 182 Béyô Kéyà: Mŝà ô ôvéàçé Açà................................ 183 Aàyŝ é Kéyà pôçà ŝçéé ôu muŝç ........................ 185 Càé ô àçç: ôm çôôvéŝy ô ŝuppô ô é Gôvémé ............................................................................................. 192 Réu ô çôôvéŝy ............................................................................. 193 Conclusion................................................................................ 198 Orature of Combat: Cultural Aestetîcs of Song as Polîtîcal Actîon în te Performance of te Mau Mau Songs by Bàu MWAURA ..................................................................... 201 hé Aéŝéçŝ ô Gkuyu Oàué é Màu Màu Sôŝ ................ 204 Sô àŝ Pôçà Açô .......................................................................... 216 Sô àŝ Oàué ô Cômbà.................................................................... 220 Resîstance and Performance Dynamîcs: te case ofbusungusunguvîgîlantes’ dance of te Sukuma of Tanzanîa by Hébé . MAKOYE ............................................................... 225 Introduction.............................................................................. 225 hé Sukumà à Suuŝuu ............................................................... 226 Dàçé à ŝô àŝ à méàŝ ô çômmuçàô .................................. 228 Conclusion................................................................................ 240
Musîc and Polîtîcs în Tanzanîa: a case study of NyotawaCigogo by ôw Pàu NYONï ................................................................ 241
Introduction.............................................................................. 241 Muŝç ômŝ àzàà ........................................................................ 242 Kwaya........................................................................2.......42........Taarab...................................................................................... 243 Jazz-band44..............2..................................................................... Dance........................................................................524................ Ngonjera................................................................................... 246 Hŝôçà Ovévéw ô Muŝç à Pôçŝ àzàà ..................... 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 Suy:Nyoà-wà-Cîgogo................................................................ 253 Nyota-wa-Cigogo: performance.................................................. 261 Conclusion................................................................................ 270 Hîp-op, Westernîzatîon and Gender în East Afrîca by Mwéà NARANGWï ......................................................... 273 Introduction.............................................................................. 273 hé Emééçé ô Hp-Hôp Eàŝ Açà .......................................... 275 Hp-Hôp Eàŝ Açà: à éw péôméô ô ô àô? ........ 281 Hp-Hôp à Wéŝézàô ................................................................ 284 Hp-ôp à Gééé ïééŝ ......................................................... 290 Conclusions............................................................................... 299 hematîsîng Electîon Polîtîcs în Swalî Epîc: te case of Mamoud Abdulkadîr by Ràyyà ïMAMMY ................................................................... 303
Formatîon of a Popular Musîc: Hîp-op în Tanzanîa by Açé BANCE ......................................................................... 315
Introduction.............................................................................. 315 *KRJQR C FGſPKVKQP................136.................................................. Gôbàŝàô ô à çuué: é çàŝé ô àzàà 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 CôImàô ô p-ôp w pôçà à ŝôçà éàŝ.............. 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 te mîdst of caos by Càà OGAN ...................................................................... 355 hé Sômà çŝŝ: à pôçà méu àvôuàbé ô é ŝpôké wô 357 Oà pôçà pôéy: à ubôké çôuum................................... 361 Péàçé màk à pôéy ....................................................................... 365 Wômé à péàçé pôéy ...................................................................... 368 If you’re ugly, know ow to sîng: aestetîcs of resîstance and subversîon by upéà MPHANDE............................................................... 377