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Templates of Wanga Socio-Cultural Family Values in Thematic And TEMPLATES OF WANGA SOCIO-CULTURAL FAMILY VALUES IN THEMATIC AND STYLISTIC ANALYSIS OF ALI AKEKO’S SELECTED POPULAR SONGS BY ZADOCK MUKUYIA OYOOLO A THESIS SUBMITTED IN PARTIAL FULFILMENT FOR THE DEGREE OF MASTER OF ARTS IN LITERATURE OF KENYATTA UNIVERSITY MARCH, 2017. i DECLARATION This thesis is my original work and has not been presented for a degree in any other University. Signature ___________________________________ Date ________________ Zadock Mukuyia Oyoolo C50/CE/22742/2010 We as University supervisors confirm that the work reported in this thesis was carried out by the candidate. 1. Dr. Mbugua Wa-Mungai, Lecturer- Kenyatta University, Literature Department. Signature _________________________________ Date ________________ 2. Dr. J.K.S. Makokha, Lecturer- Kenyatta University, Literature Department. Signature _________________________________ Date ________________ ii Dedication To my grandmothers: Kukhu Christine Bitonyake and Kukhu Frida Akwera You were signposts. iii Acknowledgements My thanks go to my supervisors: Dr. Mbugua Wa-Mungai and Dr. J.K.S. Makokha. Their guidance, encouragement, patience and criticism shaped and greatly improved the quality and focus of this thesis. They granted me forthright evaluation and went out of their way to suggest (and even offered some) reading materials. You are so special to me. I cannot forget my lecturers at Kenyatta University who were very instrumental in guiding and encouraging me to work fast. I am very grateful to Dr. John Mugubi, who advised me on how to delineate the study from wide chunk of the topic. Dr. Aggrey Wetaba of Music and Dance Department offered to read my first proposal draft which he sincerely helped to shape to acceptable standards. Dr. Justus Otiato of the Department of Sociology shredded the topics of research, one of which I settled for. Dr. Emmanuel Shikuku of Theatre Arts and Film department guided on how to conduct field work and offered good suggestions on the thesis. Mr. Charles Kebaya, really encouraged me to read wide. Mr. James Wachira of Moi University, Department of Literature, Theatre and Film Studies always encouraged, read the drafts and reminded me to remain focused. I thank you profusely. I am grateful to Ali Akeko who enthusiastically allowed me to study his songs. To many people in Matungu sub-county that I held discussions and interviewed, I say thank you. This study would not have been possible without you. Finally, I would like to thank my parents the late Papa Geofrey Oyoolo and Mama Judith Nekoye for facilitating my primary, secondary and undergraduate studies and encouraging me to soldier on with my studies. I thank my brothers and sisters for support and encouragement. You stood by me and constantly reminded me to reach the end. In the wake of all this assistance, I am responsible for any mistake(s) in this thesis. iv ABSTRACT This study regards Ali Akeko as a producer of cultural „goods‟ whose taste and appropriation are realized in consumption. For a detailed analysis, the study used eighteen songs. The study investigated Wanga socio-cultural family values as represented in Akeko‟s songs, structuring of the message and the art in the songs. It investigated the positioning of characters in Akeko‟s songs and the values the characters espouse. Data was collected through interviewing elderly Wanga people (mostly those above sixty years) and sources with knowledge of Wanga were interviewed. The sources‟ observations, comments and discussions accounted for, in part, an understanding of Wanga socio-cultural family values and strategies in Akeko‟s songs. Ali Akeko was interviewed to investigate influence of Wanga socio-cultural family values in the composition of the songs and how he structured the message in the songs. Ethnopoetics theory was important in the analysis of interpretations of socio-cultural family values as it recognizes that oral texts are deeply rooted in the culture and tradition of the performer. Ethnopoetics‟ conception of patterning was used in explaining the structuring and strategies in Akeko‟s songs. Ezekiel Alembi‟s Infracultural model was also used in interpretation of Wanga socio-cultural family values in song texts. Library research was useful in the understanding theoretical framework the study adopted and literary/poetic techniques in Akeko‟s songs. Matungu constituency/sub-county formed the site for field work as a representative region for Wanga. The objectives of the study delimited this research to Wanga socio-cultural family values as represented in Akeko‟s songs. The study found that Wanga socio-cultural family values are infused in Akeko‟s popular songs. The study found that thematic concerns, stylistic strategies and characters in Akeko‟s songs are in tandem with Wanga socio-cultural family values. Hence, the songs teach what ought to be done in contemporary Wanga community. The study recommends that Akeko‟s popular songs should be treated as reservoir of Wanga socio-cultural family values. v OPERATIONAL DEFINITION OF TERMS The study adopted the following meanings for the terms indicated: Wanga - persons who live within Matungu; and perceive themselves as sharing similar cultural values of the Wanga community. It is one of the sub-ethnic communities under the Luhya umbrella of Western Kenya. Wanga Culture – recurrent elements that form the customs of doing and perceiving things. They include the expressions of hopes, fears, celebrations and anxieties, among other experiences. The study concerns itself with the Wanga culture in exclusion of other cultures (even if the two may appear similar, particularities of Wanga culture will be of importance). Popular songs – verbal compositions of cultural products that have mass access within a community and that are consumed/enacted in popular spaces (like dance-halls, church, bars, and media). vi Table of Contents Declaration…………………………………………………………………………………...……ii Dedication………………………………………………………………………………………...iii Acknowledgements……………………………………………………………………………….iv Abstract…………………………………………………………………………………………....v Operational Definition of Terms…………………………………………………………………vi Chapter One:……………………………………………………………………………………..1 1.0 Introduction…………..………………..…………………..….…………………...…..……..1 1.1 The Wanga…………………………………………………………………………………….1 1.2 Background to the Study……………………………………………………………...……….3 1.3 Statement of the Problem………………………..……………………………………...……..6 1.4 Research Objectives…………....………………………………….……………………...…...7 1.5 Research Assumption………………………..…………………………………………...……7 1.6 Justification of the study………………………..………………………………………...…...7 1.7 Scope and Delimitations…..………………………………………………………...………...8 1.8 Literature Review…………………..………………………………………………...………10 1.9 Conceptual Framework……………..………………………………………………...……...18 1.9.1 Ethnopoetics Theory……………………………………………………………………….18 1.9.2 Alembi‟s infracultural model………………………………………………………………19 1.9.3 Conceptual model………………………………………………………………………….20 1.10 Methodology..………………………..………………………………………………...…...21 1.11Chapterization……………………………………………………………………………….26 Chapter Two…………………………………………………………………………….………27 Wanga Socio-cultural family values represented in Akeko’s songs……………….…..…….27 2.0 Introduction…………………………………………………………………………….…….27 2.1 Fidelity………………………………………………………………………………….……30 2.2 Upbringing/Education of a child……………………………..…………………………..…..45 2.3 Communalism…………………………………………………………………………….….61 2.4 Practice of Paying Dowry…………………………………………………….…………..….66 2.5 Practice of Wife Guardianship……………………………………………………..………...70 vii 2.6 Practice of Land ownership…………………………………………………………….…....78 2.7 Prohibitions……………………………………...………………………………………...…82 2.8 Other Socio-cultural family values………………………………………………………..…91 2.9 Conclusion…………………………………………………………………………………...93 Chapter Three…………………………………………………………………………………..95 Literary/Poetic Techniques as agents of values of Abawanga in Akeko’s songs…………...95 3.0 Introduction…………………………………………………………………………………..95 3.1 Opening and Closing Formula………………………...……………………………………..97 3.2 Use of Drama………………………………………………………………………………...99 3.3 Retention of Characters…..…………………………………………………………………103 3.4 Register……………………………………………………………………………………..108 3.4.1 Codeswitching and /or Foreign Language……….……...………………………………..110 3.4.2 Sheng……………………………………………………………………………………...111 3.4.3 Church Register…..…………...………………………………………………………….117 3.4.4 Bar and Bedroom Register……………….………...……………………………………..118 3.4.5 Elders‟ Register…………………………………………………………………………...121 3.5 Conclusion………………………………………………………………………………….123 Chapter Four…………………………………………………………………………………..124 Characterization and value systems of Abawanga…..……………………………………...124 4.0 Introduction…………………………………………………………………………………124 4.1 Child characters…………………………………………………………………………….126 4.2 Adults……………………………………………………………………………………….134 4.2.1 Female adults……………...……………………………………………………………...135 4.2.2 Male adults………………..……………………………………………………………...150 4.3 Elderly characters…..………………………………………………………………………160 4.4 Conclusion………………………………………………………………………………….164 CHAPTER FIVE……………………………………………………………………………...166 Summary, Conclusions and Recommendations………...…………………………………...166 5.0 Introduction…………………………………………………………………………………166 5.1 Summary……………………………………………………………………………………167 5.2 Findings…………………………………………………………………………………….168 5.3 Conclusion..………………………………………………………………………………...170 5.4 Recommendations for Further study…………………………………………………….…171 Works Cited……………………………………………………………………………………172 viii Appendix 1: Akeko’s songs transcribed …………………………………………………….180 Appendix 2: Information on Wanga with whom I discussed the research theme………...282
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