The most important aspects of Nzomo’s song ,that provides a strong backbone to the components of activities, is the etiquette and movements that are shown through duple meter, repetitive phrasing and a strong melodic line from the voice.
The term ‘etiquette’ is defined by the Webster’s Dictionary Online as “The practices and forms prescribed by social convention or by authority”. This definition is threaded nicely into the idea of Cultural musical component in relation to what is considered “normal” for the audience to do at a concert. For example, in the united States of America, screaming, jumping, banging into other people, and occasional bra throwing, are all normal actions at a rock concert. But at a rock concert in Japan, the etiquette is a little more respectful, with less screaming, and more actual listening to the music. You may wonder what etiquette is considered ‘acceptable’ in Kenyan culture, and the answer all lies within the type of performance. Since Nzomo’s piece was ‘popular’ song, the kind of etiquette performed by the audience would have been clapping or singing along (Umbima). Nzomo’s use of a duple meter makes it easy for people to join in with his tune, therefore creating a deeper connection with the audience. Can you imagine trying to tap your foot or clap the beat of a song that is an odd meter? Using the duple meter allows people to pick up on the beat quickly, even if it is their first time listening to the song. The repetitive lyrical phrases also allows people to sing along with this popular tune, and make the song more memorable to the audience. With these etiquettes silently incorporated into the works of this song, one can plainly see how activities are tied to the musical traits.
Although no live recording of this song can be found, one can make an educated decision on what other activities may have been incorporated into Nzomo’s tune. This is a protesting song, so movements may have been tied to the protesting action, such as a certain hand gesture, or particular body language (Ntarangwi). For example, Hitler used the hand gesture of a strait hand sideways, away from the forehead to define the Nazi troops. Nzomo also allows such gestures to be used in his song. The strong and tonal language, displayed by the melodic line definitely allows such movements to be aptly used.
Activities are very important in African culture, and it is shown through the use of musical traits in Nzomo’s song. The etiquette and movement aspect of activities truly emphasizes the importance use of musical traits in this tune. The two truly have a fifty-fifty relationship and follow in each others footsteps.
Cited-
Ntarangwi, Mwenda . Gender, Idenity, and Performance. Trenton, New Jersey: Africa World Press, Inc, 2003.
Umbima, William . “Republic of Kenya.” Dictionary of Music and Musicians. Second ed. Volume 13. New York: Macmillian Publishers Limited, 2001.
