Daniels, Douglas. “Taarab Clubs and Swahili Music Culture.” Social Idenities 2.3 (1996): 413-426. Ebsco Host. 15 Sep 2009.
The thesis of this article is, “examines a cultural basis of nationalism, namely the taarab orchestras and music clubs that proliferated in costal Kenya….shortly after World War One”. By first looking at this article, I did not think that it was going to display a lot of information about Kenyan musical components, but fortunately I found an abundant of good facts. On page two it discusses the social aspect of training/education of musical culture. Many of the performers are taught by a multitude of teachers and some by no teacher at all. There is no formal education that we have in the western world, and many who are literate in their art have not received any education in the area. More focus is put upon intense study of the instrument. During these Taarab performances in Kenya, short plays are performed during these songs. This activity deals with domestic affairs and stories about tyrannical rulers, and makes their performances widespread to a larger audience. This article also discusses the material instruments that are used in Swahili culture. For example, the oud, which was originally an Arabic instrument, has soaked into Kenyans musical culture, influencing the sound of the society. Considering social status, women are becoming more and more important in musical performance. In the 1960’s Kenyan women were looked down upon in performing, not allowed to expose herelf completely. In today’s Kenyan society, women are more apparent and sing and play instruments. This article provides important information about social, material and activity components of musical culture in Kenya.
Finke, Jens. “Kenya.” World Music: The Rough Guide. Volume one. England: Rough Guides, 2005. Print.
In this encyclopedia, there was a lot of information about different popular musical groups in Kenya and the different musical styles they play. Finke also writes about certain tribes and the musical components in each. For example, on page five-hundred and eleven she examines the Maasai tribe. Because this is a nomadic tribe, carrying instruments in not an option for these people, which has caused them to use their vocal chords in replace of basic instruments. Beautiful harmonies can be heard from this tribe, which includes a basic rhythm that is formed from growl-like sounds in the throat. The Turkana tribe uses an antelope horn as an instrument and the Gusii tribe favors the Obokano, which closely resembles a lyre instrument. Although many of the tribes use unorthodox instruments, well populated places use western and Middle Eastern instruments like clarinet, sax, piano, guitar, and oud. These instruments came to Kenya via Christian missionaries and Islamic trade routes. This article provides useful information regarding the social, material and activity parts of musical culture.
Kavyu, Paul N. “Music in Kenya.” The Garland Encyclopedia of World Music: Africa. First edition. Volume one. New York: Garland Publishing, Inc, 1998.
In the beginning of this article Kavyu first discussed basic information about Kenya, including geographical zones and a quick history of the land. On pages six-hundred and twenty-four thru six-hundred and twenty-five, he begins discussing the different musical styles that are connected to each individual instrument. For example, the one drumming technique with one stick and one hand is generally used by the Christian churches in Kenya and was most likely influenced by the European missionaries/travelers. This fact relates to the social component of musical culture since it discusses those who play subsidiary roles in the songs. On page six-hundred and twenty-six, the author says that “Urbanization married to tonal organization of traditional music to that of the churches”. This fact threads in the musical component of ideas, as the context of these songs were in a time where urbanization was just beginning to take place. On page six-hundred and twenty-seven, kavyu also speaks of dances that are performed at various soccer meets and gathers. These activities of musical components are very important to keep the traditional aspect of Kenyan music into play. Many of these dancers who perform are well known in their communities and entertain at work and in their spare time. Education is also touched upon in this article, claiming that some of the musical universities give “practical tuition to the students of African instruments”. Although this is a kind gesture, many still struggle to find the money to go to school and support them in a falling economy. Children choirs are still abundant, and although these students may not be receiving formal music education, they are learning from people who are well versed in their field. This encyclopedia held information from all of the components of musical culture, and I found this article to be one of my favorite to read.
Ntarangwi, Mwenda . Gender, Idenity, and Performance. Trenton, New Jersey: Africa World Press, Inc, 2003.
This entire book was very fascinating, and basically went into detail about social components of musical culture by analyzing the gender identity issues/facts in Kenya. In this book there was no set thesis statement. Instead the author remains un-biased claiming that she is just documenting “the intersection between music, gender and religion as cultural elements that are socially created and expressed in the everyday activities of the Swahili people Of Mombasa, Kenya. Mwenda first helps one to grasp the relationship/differences between man and woman in the Kenyan culture. Because of the influence of Islam and Christianity, women are looked down upon as lesser vessels to the men, to cook and clean for their husband. Some of these women are also expected to wear Buibui (a covering that only exposes the eyes), which can hinder musical dance performances. Children are taught at an early age certain moral traits by songs and dialogues that influence their thinking pattern. For example, on page one-hundred and twenty-eight, Nguoy Fupi (a song about a father and daughter discussing the appropriate length of dress) can influence a child’s mind into thinking what is moral and immoral in Swahili society’s eyes. On page one-hundred and sixty-seven the author discusses a wedding celebration dance that includes both men and women in the performing and dancing. Today in Kenya society, women are being used for performance much more than they used to be. Biased gender roles are also abundant, many people claiming that a sensual song should only be sung to a woman, not by a woman (pg. one-hundred and ninety-four). Beauty is also looked upon as a good trait to possess, yet women are to cover their bodies so that no one may see them. This oxymoron way of thinking can influence the types of music women create, because some feel oppressed by society. Many of these stereotypical roles played by men and women can help us understand the social and ideas aspect of musical culture.
Nyairo, Joyce. “kenyan gospel soundtracks: crossing boundaries, mapping audiences.” Journal of African Cultural Studies 20.1 (2008): 71-83. Academic One File. 30 Sep 2009.
In this scholarly article, Joyce Nyairo proposes the thesis is about the “modern gospel capacity for camouflage and boundary-crossing explains the production and consumption of this music has been engendered in local youth identity and the growth of hybrid identities”. The main points of this article that I was mainly interested were the musical components in correlation with Kenyan culture. In regards to Ideas, these gospel songs are related to spirituality. On page seventy-two Nyairo goes into detail about the history of African gospel hymns, and states that gospel hymns are sung only “consumed within the precincts of religious sites and functions. This shows that the Kenyans singing these gospels songs, are very serious about the spirituality and where/when/how the song is sung. Although many of the churches were reluctant about selling their sacred worship songs to a music producer, many of these spiritual songs have been recorded for general listening. This means that music producers are influencing these gospel songs to some extent, therefore providing more information about the social aspect of Kenyan musical culture. In regards to the material component, this article talks about many different instruments, such as the kayamba that has been slowly integrated into Christian Kenyan music. This article was very beneficial for the social, idea, and material aspect of the components of musical culture.
Opondo, Patricia. “Cultural Policies in Kenya.” Symposium: Arts Education Policy in Africa. 1.1 (200): 18-24.
This article was about cultural policies in Kenya, and focused on (the lack of) music education as a growing problem in this land. This was a basic research project with a proposed thesis that “ examined challenges that arise when government policies are implemented with the goal of promoting culture, tradition, heritage and identity in contemporary society”. Although musical culture is praised in Kenya, the educational system still is very primitive. This article ties into the social and ideas aspect of musical culture regarding the educational system. Many times when people are stifled by their teachers, they perform better. Yet, nothing can replace knowledge that is learned from somebody who is well versed in their field because they have been performing for years. These pros and cons of education can shape the influence of how young musicians perform.
Umbima, William . “Republic of Kenya.” Dictionary of Music and Musicians. Second ed. Volume 13. New York: Macmillian Publishers Limited, 2001.
In this encyclopedia article, William Umbima basically summarizes all aspects of musical culture in Kenya, including historical background, instruments, and social organization. On page four-hundred and eighty one, and in the second paragraph Umbima goes into detail about the development of music in Kenya and the influences it has had throughout the years. These influences include Missionaries, music recording industry, mass media, and traditional African values. The information he gives about influences highlights the abundant social organization aspects of this encyclopedia, hinting at subsidiary roles. On pages four-hundred and eighty-two thru four-hundred and eighty-three, Umbima discusses different musical styles that are closely related to the musical growth of Kenya, including Cuban rumba and Spanish guitar. These pages also discuss the major impact of the recording companies to the creative process for Kenyan songwriters and performers. On page four-hundred and eighty-four the author begins writing about musical instruments and performance styles, both which have to do with the material culture of Kenyan music. For example, he discusses the lyre instrument that can not only be used as a rhythmic instrument, but also offers “possibilities for handling complicated tunes”. This article offers great information about social and material aspect of the Musical culture of Kenya.
Women’s Work Group. Perf. Kikuyu Women. Distributed by LWT, England. Dir. Hiroshi Yamamoto. “Kenya”. The JVS and Smithsonian/Folkways Video Anthology of Music and Dance in Africa. JVC. Japan, 1996.
The particular video I watched was entitled “Women’s Work group” in the Smithsonian Folkways video Anthology of Music and Dance. This video had examples of songs sung by women while working in the farm. The clip offered an interesting correlation between social status (particularly gender roles) and musical culture. In many parts of Kenya, women have discovered the importance of music as a way to help them define themselves as a group and to cope with socio-economic reality. It provides a creative outlet for women in which they can express their thoughts and feelings without fear of ridicule. All of the women in this video wore similar head scarves, which falls into the material aspect of musical culture. These headscarves serve as a uniform to these performers. The activity performed during this song is the farming in the field. These songs motivate the women to perform faster and keep a high spirit although they are oppressed socially.
