Cinema As Cultural Discourse: a Study of Cultural Symbols in Selected Contemporary Gĩkũyũ Comedies

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Cinema As Cultural Discourse: a Study of Cultural Symbols in Selected Contemporary Gĩkũyũ Comedies CINEMA AS CULTURAL DISCOURSE: A STUDY OF CULTURAL SYMBOLS IN SELECTED CONTEMPORARY GĨKŨYŨ COMEDIES STANLEY MBŨGUA NJOROGE (M.I.P., M.A., PGD Mass Comm, B.Ed.) (M88/29307/2014) A RESEARCH THESIS SUBMITTED TO THE SCHOOL OF CREATIVE AND PERFORMING ARTS, FILM AND MEDIA STUDIES IN FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY (FILM STUDIES) OF KENYATTA UNIVERSITY FEBRUARY, 2019 DECLARATION This thesis is my original work and has not been submitted to any other higher institution of learning for academic credit. Signed _______________________________________ ___________________ Stanley Mbugua Njoroge (Department of Communication, Media, Film and Theatre Studies) Supervisors This Thesis has been submitted for the review with our approval as University Supervisors Signature___________________________________ Date____________________ John Mugubi, PhD Department of Communication, Media, Film and Theatre Studies, Kenyatta University Signature_____________________________________ Date___________________ Rosemary Nyaole-Kowuor, PhD Department of Communication, Daystar University ii ‘ DEDICATION This work is dedicated to all cultural enthusiasts dedicated to the growth and promotion of indigenous Kenyan languages through filmic production and other forms of artistic expressions. iii AKNOWLEDGEMENT The completion of this PhD Thesis is realisation of a major milestone in my life and that of my immediate family member, mentors and all those who believed in me. It is a testament that all dreams are valid and that vast well of knowledge is available to all those who visit her lair. Today I can validate Chinua Achebe’s assertion in his seminal work, Things Fall Apart, that, “If a child washes his hands he could eat with kings.” This achievement has been made possible by a host of individuals and institutions that I am eternally indebted to. To my wife Ngĩna, your unremitting reassurance and cheerful deportment is a great source of inspiration that helped me a great deal. To my sons, Njoroge, Mwai and Ruo (Robi), your presence and gay laughter that reverberated across our home is to me a serenade that enthused my deep-seated ingenuity which led to conception, development and writing of this thesis. To my father Njoroge (Kĩng’a) and Nyokabi Njoroge thank you for believing in my abilities even when I had doubted my inner self. To Mũngai, Kĩhara, Njenga, Mũthoni and Wanjirũ I treasure your filial and camaraderie demeanour. You have been such a blessing to me. To my paternal grandmother, the late Mũthoni (Ndundu) Mũngai, your advice on one sunny afternoon of February 1994 still echoes hope and contentment in me. You encouraged me to go for a second trial after I failed to attain university entry grade during my first KCSE exams in October-November 1993. You told me that I should not fear resitting for KCSE exams, since as the Gĩkũyũ of old said, Matuku mari matare matirĩ hinya (an appointed and definite time always lapses). To my in-laws, cousins, nephews, and nieces who are a big tribe, big enough that I cannot mention each one of you by name, your contributions, support and collegiality are valued. To my university lecturers, secondary, primary and nursery, teachers accept my appreciation for laying down academic foundation in me. To my supervisor Prof. John Mugubi and Dr. Rosemary Nyaole-Kowuor, I have received invaluable guidance and academic mentorship. Your priceless interactions came in form of enormous gifts of time, expertise, and insights for which I am keen to express my sincere gratitude. Their supervision is to say the least, an important thread that sewed together thesis’s corpus, giving it its personality, organization, and theoretical depth. I am also greatly indebted to my peers; Dr. Maurice Barasa and Mr. iv Timothy Gachanga for providing objective observations on the content and form of this thesis. As one adage says, a moment with elders is like immersing oneself into old cherished archive and library containing cultural lore and knowledge. To this end, my sincere appreciation goes to elders who helped me to decipher Gĩkũyũ culture and ways of life during this study. Special thanks go to late Mzee Karĩri Kĩhara, whom I am named after, and who despite the vagaries of old age engaged with me personally or through telephonic exchanges, sometime early in the mornings or late in the night. Unfortunately, Mzee Karĩri died on 13th August 2017 and never lived to witness his namesake’s ultimate academic feat. To the late Kariuki (Mũigai) Kĩhara who regrettably died on 13th November 2018, your grasp and mastery of Gĩkũyũ culture is legendary. Mzee Thiong’o wa Kĩambicho your participation in this study will remain etched in my memory. Thank you for sharing your solemn insights on my ancestral heritage. Other notable elders who deserve a special mention include: Mzee Mwangi Muchoki, a resident near Mũkũrwe wa Nyagathanga, in Kĩharũ, Mũrang’a county. Muchoki is instrumental in taking me through the sacred grove of Mũkũrwe wa Nyagathanga. Others include; Kibeba wa Mwaũra, Mzee Ngoci, Mwaura Kagiki, Mbũrũ wa Njoroge (Wa-Thera), Njoroge wa Wagathiru and Mrs. Wangũi Karĩri. To all artists and film experts, this endeavour will have been incomplete without your involvement. My gratitude goes to: Kĩhenjo, Wandahuhu and Machang’i your willingness to engage with me is highly valued. To Kenyatta University, School of Creative Arts, Film and Media Studies and everyone in the University, including staff working at the Postmodern Kenyatta University Library for having provided me with an academic and an excellent home, you made my stay and readership period at KU a meaningful event. I will be failing in my duties if I forget to recognise the role of staff of Kenya National Library Services at National Reference Centre, Community Area, Nairobi for their friendly mien that enabled me to access important works on Gĩkũyũ culture. I have also benefited immensely through Africa University Alumni office, especially through the efforts of Mr. Brian Kutiwa, Client Services Librarian at Africa University, Mutare, Zimbabwe. v Finally, to the many respondents who were a joy to interact with and to anyone else who assisted me in one way or another in completing this thesis. vi TABLE OF CONTENT DECLARATION.......................................................................................................... ii DEDICATION............................................................................................................. iii AKNOWLEDGEMENT............................................................................................. iv TABLE OF CONTENT ............................................................................................. vii LIST OF FIGURES .................................................................................................... xi ABBREVIATIONS AND ACRYONYMS .............................................................. xiii OPERATIONAL DEFINITION OF KEY TERMS .............................................. xiv ABSTRACT .............................................................................................................. xvii CHAPTER ONE: INTRODUCTION AND BACKGROUND TO THE STUDY ..... 1 1.1 Introduction .......................................................................................................... 1 1.2 Culture: Facets and Discourse .............................................................................. 1 1.2.1 African Cultural Ambiance ........................................................................ 4 1.3 Statement of the Problem ..................................................................................... 7 1.3.1 Purpose of the Study .................................................................................. 8 1.3.2 Research Objectives ................................................................................... 9 1.3.3 Research Questions .................................................................................... 9 1.3.4 The Study Assumptions ............................................................................. 9 1.3.5 Significance of the study ............................................................................ 9 1.3.6 Scope of the study .................................................................................... 11 1.4 Literature Review and Theoretical Framework ................................................. 11 1.4.1 The Gĩkũyũ People, Language and Cultural Symbols ............................... 12 1.4.1.1 Migration, Confluence, and Influence ................................................ 14 1.4.1.2 Colonization and Christianity and their Impact on Agĩkũyũ ............... 20 1.4.1.3 Precursors of Gĩkũyũ Film ................................................................. 24 1.4.1.4 Gĩkũyũ Cultural and Artistic Performances ........................................ 26 1.4.1.5 The Gĩkũyũ Oral Artistic Performances ............................................. 26 1.4.1.6 Theatre among the Gĩkũyũ ................................................................ 30 1.4.1.7 Gĩkũyũ in Film .................................................................................. 32 1.4.1.8 Rise of Gĩkũyũ Comedies .................................................................. 35 1.4.2 The Agĩkũyũ and their Cultural Symbols ................................................. 37 1.4.3 Bountiful Codes: Representation of Film – Culture Nexus ....................... 38 1.4.4 Towards and Understanding of
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