Illutrations of Kenyan Music Stars That Sensitize the Youth on Nurturing Talent

UNIVERSITY OF NAIROBI College of Architecture and Engineering School of Arts and Design

BDS 413: PROJECT PAPER

ILLUTRATIONS OF KENYAN MUSIC STARS THAT SENSITIZE THE YOUTH ON NURTURING TALENT

KITHINJI DESMOND MWENDI

B05/1013/2012

Project paper submitted in partial fulfillment of the requirement for the Bachelor of Art in Design Degree submitted to the school of the Arts and Design, University of Nairobi.

Supervisor: Mrs. Fransisca Odundo

Submitted on December 18, 2015.

DECLARATION

I declare that this project entitled “ILLUTRATIONS OF KENYAN MUSIC STARS THAT SENSITIZE THE YOUTH ON NURTURING TALENT” is my own work and to the best of my knowledge has not been presented to any other university for a degree or any other certificate.

Signature………………………………………...Date………………………………

KITHINJI DESMOND MWENDI

B05/1013/2012

School of the Arts and Design, University of Nairobi

This research project has been submitted for examination with my approval as University Supervisor.

Signature………………………………………Date……………………………………….

MRS. FRANSISCA ODUNDO

School of the Arts and Design, University of Nairobi

DEDICATION

I would like to dedicate this gratifying and memorable project to my friend, Sonko Mumo for the support, inspiration and believe in me throughout this endeavor.

ACKNOWLEDGEMENTS

I would like to acknowledge and extend my heartfelt gratitude to all those who have made the completion of this project possible.

First, I would like to thank my supervisor Mrs. Fransisca Odundo and Dr. Lilac Osanjo whose knowledge, insight and encouragement helped in shaping this project to fruition.

Again, I would also wish to acknowledge and appreciate the motivation and support given to me by my colleagues at the School of the Arts and Design at the University of Nairobi, thank you for the constant reminders on class meetings and group discussions and also for dissecting that paper.

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Table of Contents

CHAPTER ONE ...... 1 1.0 INTRODUCTION...... 1 1.1 Background of The Problem ...... 3 1.2 Problem Statement...... 4 1.3 Objectives ...... 5 1.4 Research Questions ...... 5 1.5 Significance of Study...... 6 CHAPTER TWO ...... 7 LITERATURE REVIEW ...... 7 2.0 Introduction ...... 7 2.1 Why Musicians...... 8 2.1.1 The youth and music icons...... 10 2.1.2 Elvis Presley ...... 11 2.1.3 The Beatles ...... 13 2.1.4 Fela Kuti ...... 14 2.1.5 Suzanna Owiyo ...... 15 2.1.6 Sauti Sol ...... 17 2.2 The Kenyan Youth ...... 20 2.2.1 Causes of Unemployment among Kenya youth...... 23 2.2.2 How can the Problem of Unemployment in Kenya be solved? ...... 25 2.2.3 Youth and Talent ...... 26 2.2.3.0 Theories of Talent Development...... 26 2.2.3.1 Recognizing Talent ...... 27 2.2.3.2 Nurturing Talent ...... 28 2.3 Art Styles ...... 29 2.3.0 Art and Communication ...... 29 2.3.1 Photography ...... 30 2.3.2 Cartoons and Comics ...... 31 2.4 Communication for development (C4D) ...... 33 2.4.0 Behavior Change Communication (BCC) ...... 35 2.4.1 Choice of channels...... 36

2.5 Exemplar ...... 36 The Shujaaz ...... 36 CHAPTER THREE ...... 40 3.0 RESEARCH DESIGN AND METHODOLOGY ...... 40 3.1 Research Design ...... 40 3.2 Sample Population ...... 40 3.3 Data Collection Procedures ...... 41 3.3.0 Questionnaires ...... 41 3.3.1 Interviews ...... 41 3.4 Data Analysis Tools...... 42 3.5 Data Presentation Methods ...... 42 3.6 Conclusion ...... 42 CHAPTER 4 ...... 43 FINDINGS ...... 43 4.0 Overview ...... 43 4.1 Questionnaires Findings ...... 44 4.2 Analysis of Findings ...... 45 4.2.0 Overview ...... 45 4.2.1 Profile of sample population ...... 45 4.2.2 Talent awareness and utilization level among the urban youth ...... 45 4.2.3 The youths’ art style preference and their effectiveness as tools of communication 46 4.2.4 What influences are the Kenyan musicians impacting on the urban youth...... 47 CHAPTER FIVE ...... 48 CONCLUSION AND RECOMMENDATIONS ...... 48 5.0 Conclusion ...... 48 5.1 Recommendations ...... 49

LIST OF TABLES

Table 1: Unemployment Rate in Kenya by Age Group……………...... 22

Table 2: Distribution (%) Of Art Style Preferences Among The Nairobi Youth……………..41

LIST OF FIGURES Fig 1. ……………………………………………………………………………………33

Fig 2. DJ Boyie- Shujaaz main character…………………………………………….37

Fig 3. Seeding new ideas in agriculture, by Shujaaz comic………………………....37

CHAPTER ONE

1.0 INTRODUCTION

We are all born with the propensity to achieve, succeed, and thrive in our endeavors. We have certain skills, talents and abilities that can be nurtured, shaped, formed, and encouraged. The human species has a vast number of these talents, skills and abilities, and it remains a wonder as to how some individuals reach the pinnacle of perfection with their skills and talents, and why others remain simply mediocre.

Certainly genetics, home environment, mentoring, and coaching all play a role in success. Observing excellent role models with robust skills, and being provided with superlative tutoring and direct instruction also plays a major role in later life. Luck, chance, fate, the stars- all perhaps enter into the equation, resulting in a person who is called to greatness.

The eyes may be the window to the soul- and the eyes further enhance the development of visual and artistic talent- delving into the realm of aesthetics. The ears help us perceive melody, yet also afford the opportunity to hear oneself and one's vocal pitch, timbre and quality. Our brains enable us to think critically, in a sophisticated, philosophical manner, as well as to learn.

All we are saying is that talent is part of us all. It is not every one of us who is talented. However, it affects all of us one way or the other. It may be directly or indirectly affecting our lives. How is that? Those will talent, share it. It is not an ability you should keep to yourself but should embrace it for your benefit and that of others.

With the rising population in the world today, especially in the developing countries, it will mean less employment opportunities and in turn increased joblessness among the youth. This calls upon implementation of all applicable measures aimed at generating employment opportunities. One major and mostly overlooked resource, is talent. Talent nurturing programs need to be put in place to develop and grow young talent. This will provide future security in terms of idea development and creation of diversified fields of work that did not exist before. With talent comes creativity and with creativity come innovation.

This forms the basis of this research as is seeks to depict how art can play crucial role in nurturing of talent for the young and youth. The youth as well because, it is at this stage that a talented youth is sure of what their talent is and have ideas of what they can do with them. What lacks however is proper channels of pursuing the talents and majority end up giving up to developing their talents.

It calls for everyone in the society to play their part if at all we are to invest in our talents for a better future.

1.1 Background of The Problem

None of us wants to stand and watch their friend suffer in poverty, because of unemployment. This is the thought that sprung the idea of utilizing talent for both individual and society benefits. We can use our talent to create employment for us and others. Many of us are specially abled, you can call it talent, yet allow ourselves to get into vulnerable positions like that of being unemployed. Why do we have situations like these in our country Kenya? There are a number of reasons that can be pointed out to have contributed to the wasting of talent in young children, leading to the youth, in Kenya today. Is it the education system? Partially yes. Education in modern day society is a vital tool for general survival in terms of earning a living and a sense of identity and purpose to the society. It gives one a sense of accomplishment and is expected to give back to the society by working; this can be one way of looking at it. The Kenyan education system is not the best of the all especially when it comes to nurturing talent in young school children. It lays most emphasis on theoretical knowledge rather than teach skills applicable in the real world or offer platforms to nurture different talents such as art, drama or even music. Another reasons for is parental stereotype towards certain careers. Most parents, if not all, believe that for one to excel in life, they have to get a good education and in turn a good job that they have academically qualified for.

1.2 Problem Statement

Why are the youth so scared of venturing into a field (it could be an investment, product development, or a passionate intuition into pursuing your talent) without an outcome certainty? There are a whole lot of reasons for this; they may be personal, or influenced by other factors around us. Majority of the youth today tend to follow in the steps of their fore runners and molders: these may include their parents, relatives, teachers and other prominent figures in that were influential in their upbringing. For many, this means getting good education and then a good job that you are academically qualified for. This locks out the chances of exploring the inborn capabilities and like that, many talents are washed down the drain. What a waste? For there to be a better future, this is what we have to halt. And how can we do this, bringing in systems that incorporate talent nurturing for those of us who are talented in all those diverse fields. Like Lupita Nyong’o said_ no matter where you come from your dreams are valid_. Looking at the education system in Kenya: it’s not the best system of them all, especially when it comes to nurturing young talent and equipping learners with life survival skills. We have all reasons to change some aspects. For instance, the system in place at the moment does not have a long term plan to cater for the fast growing population with aspect to the job creation. If not fixed, either by putting other appropriate means in place, it will mean that there will be a lot of youth without employment despite being qualified for the job market. Lack of job opportunities will now be the cancer in the system. Increased unemployment results in increased insecurity and poverty. Both of which are not factors that contribute to positive economic and social growth in a society. All this cannot be blamed on any specific factor, since every one of them has contributed to the fault one way or the other. Clearly this calls for youth empowerment, something the government, organizations and even individuals are doing through different applicable initiatives. The government of Kenya has undertaken several initiatives aimed towards empowering the youth. For instance; In 2009 the Government of Kenya launched the Kazi Kwa Vijana (Work for Youth) program, aiming to employ both urban and rural youth in labor intensive public works projects like road maintenance, water harvesting, afforestation and waste collection. The Government also supports a fund providing young people finance for self-employment and entrepreneurial skills’

4 development, like in the case of Uwezo Fund program. Looking at individuals, we have personalities like Juliani (a hip hop artist in Kenya), who has a campaign aimed at nurturing talent for youth empowerment through music and entertainment. We need all these initiatives to serve as reminders about the power of talent and the importance of talent utilization.

1.3 Objectives

1. To establish what style of art is most effective as a communication tool for the urban youth. 2. The deduce the level of talent awareness and talent utilization among the urban youth. 3. To deduce how the Kenyan musicians are influencing and impacting change on the Kenyan youth.

1.4 Research Questions

1. How would a well-designed illustration of a popular musician impact on a

youth?

2. How can art be involved in the nurturing of youth talent?

3. How do the musicians influence the youth?

1.5 Significance of Study

The project aims at creating a surge of interest in the talent nurturing, and the issue of cultivating a creative entrepreneurial culture which can hence help the youth in engaging in programs that help them improve their living standards both economically and socially by creating employment through talent.

The study was conducted to gather concrete information about youth in relation to talent utilization and their interaction level with different art styles. This in turn benefits the artists in knowing the preferences of the youth which is a crucial aspect when it comes to developing appropriate art for a certain course.

This creates a network of relevant information passing around and due to understanding the audience, one will be able to deliver appropriately.

This project could be used as a media for progressive form of education which nurtures critical awareness and youth activism.

This study shows that illustrations can play a significant role in constructing an enabling environment and effecting positive social change by helping to integrate youth talent into society, increasing their employability and thus empowering them to lead the lives they choose.

CHAPTER TWO

LITERATURE REVIEW

2.0 Introduction

Having laid out the problem behind the cause for this research, we are going to look at the theoretical philosophies behind talent nurturing, the youth and art as a communication tool. The objectives of this chapter can be summarized as follows:

 To justify use of musicians as tools of influence among the youth over the years.  To shed more light on different art styles and their application.  Justification for art as a tool for communication.

2.1 Why Musicians.

Every era in time is accompanied by music of its time, almost like an imprint that reflects a cultural reality always striving for aesthetics. Music is truly a narrator of what human beings have gone through and are still evolving to become. We would imagine that, without music, the human life span will be shortened because without music, our ability to emotionally express will be limited and that would be directly linked to our mental and physical health. Music can be enjoyed, created, and played by virtually anybody. But, to sustain, create, and spread music that can be appreciated by the mass is a difficult thing to master.

Music can be made and played by virtually anybody, but only up to a certain level. Not anybody can play a piano like Elton John (pop); Bill Evans (jazz); or compose an emotionally riveting song like “Imagine” by John Lennon; or a triumphant masterpiece like Beethoven’s 5th Symphony. To master an instrument, a person would have to dedicate a big portion of their life to the instrument to play music. Hence, the profession: Musician.

Are musicians truly important? Some answer no, and we know there are people who would say that because of the image of certain musicians who are just lazy bums, who have addiction problems and do music because they just love being a “rock star”.

Then, we would say this to these persons, “Imagine your life without music”. Because, without a musician, there is no way to preserve music and to have music performed and be heard by people. Imagine yourself without lullabies sung by whoever cared for you when you were a baby; no birthday song on your birthday; no song to learn your alphabets; no songs to go along with the games you play with your classmates in school; no music in the Disney movies you watch; no songs to sing at high school football games; no music to listen to when you fall in love or when someone breaks your heart; no music to dance to; no music to accompany your graduation; no music to your wedding; no music to go along with your funeral. By listing all these events, you can tell how much music is integrated into our life. The lullabies and birthday songs were probably sung by people who did not make music a career, but those songs were created by musicians and the song played on

8 your graduation and wedding were played by musicians (whether it was a live performance, midi-recording, or an instrumental recording).

Our emotions and the feeling we get during certain events are important to us because that is what makes us human. The emotions of joy, sadness, anger, fear and anticipation can be enhanced when paired with the “right” music, and can also manifest emotions by just listening to the music that is paired with it. Music affects and manipulates emotion and the brain tremendously.

in mirroring behaviors, needs, emotions and, therefore, the essence of a sub-culture within a bigger culture all over the globe. Music provided by musicians is generous, never discriminatory; rather a friend of every single human on earth, regardless of sex, age, social status, preferences or diagnosis. Music, then, has many functions, like the energy, that gives birth to what is almost a soundtrack to life. It is the social, emotional, and cognitive vehicle of society, reflecting the imprint of our present identity and the always-evolving identity.

Understanding music and some of its functions includes music as a container of emotion. A lot of our music preference taps into our deepest, most genuine, emotions and eventually affects our state of mind and, therefore, our behavior. Music has been an efficient carrier of information that has been used for centuries as a vehicle to communicate and teach, because it effectively taps into memory. Just imagine the ABC’s at school, or the array of lyrics in millions of tunes that influence people’s minds with a message consciously and unconsciously. Music behind commercials and movies move alarming amounts of money, and provide the element of entertainment as well as consumerism. As Plato reaffirmed, music needs to be treated with care, as it shapes our character.

Just as importantly, rhythm within the creation of music is a crucial aspect imbedded in our daily life, not only in the music we listen to, but in the way we are with ourselves and others. Rhythm is present and consistent in our dialogue, in the way we carefully and unconsciously coordinate social interactions. Rhythm is an organizer that acts as a physical structure and energizer. Think of the many ways in which rhythmic music can be used, when exercising, dancing and while working on other daily tasks (Hodges and Sebald). Studies have shown that rhythm and melody affect bodily responses altering blood pressure

9 and heart rate, just to mention a few physiological responses. It’s important to keep in mind that all these changes affect the state of mind and that, without music and musicians to provide the music, the world would change dramatically.

There is much more regarding music and musicians that makes a difference around the globe. The study of music, as well as the psychology of music, has become increasingly more extensive, allowing new appreciation of the recurring presence and power of music. Disciplines such as Music Therapy, which, after careful assessment, strategically uses music to address a specific goal; cognitive, social or emotional for a specific client. This shows the overwhelmingly powerful effects of music and a few ways in which it is used today for the benefit of people.

Musicians create and perform music that enhances and manifest emotion; is used as a carrier of information, a method used to teach information by all cultures; is also effectively used in science and therapy. We all have our lives to live, and we all usually devote most of our time and life to one specific aspect which usually is related to our career. Musicians devote most of their time creating music and to perfecting their artistry with an instrument. Music itself requires these kinds of artistic and dedicated people to sustain and spread its creation.

2.1.1 The youth and music icons.

Here the researcher seeks to conduct a comparison of the local artists to the international exemplars who have a larger audience and immense influence among the youth all over the world. The review focuses on the comparison of international icons influence to that of the local exemplar.

2.1.2 Elvis Presley

In the last year before his death in 1977, over 80,000 fans in Chicago, Illinois, throughout two days watched a man glimmering with sequins and flashy clothes perform his magic. They screamed with delight as the spell that he cast throughout his life to not millions but trillions of teenage fans swept like an epidemic changing their lives forever. He was a mix of white and black culture. He was another mix of wild rebellion, yet still part of that reserved calmness. He was Elvis Aron Presley, the rock legend of all time changing teen life dramatically to what it is today

"Well, since my baby left me, I found a new place to dwell. It's down at the end of lonely street at heartbreak hotel." These powerful lyrics from the song "Heartbreak Hotel" captured the teenage audience starting from April 1956 as it climbed to number one on the Billboard top hits as well as did eighteen of his other songs. In Chicago, Illinois, he had number one hits in 1956, 1957, and 1969. Having been raised in a poor environment, Presley was experienced with many types of music including the black music. Blending this type of music in with his white appearance and voice, the attraction of many fans of different race and music taste was deadly.

His music was not the only part that captured the teen audience but also ever present gyrating hips, causing his nickname, "Elvis the Pelvis", and the shaking of his legs. Sending young teen girls screaming on the top of their lungs in ecstasy, these were Presley's signature moves throughout his entire career. With additional "making out with the microphone" and 'Jumping up and down with their guitar" these moves are still seen in teen rock today including bands that were formed in Chicago, Illinois. Going platinum in the same place, Presley was not one to follow current trends, but instead to set them.

Although his career did not start this way, as a little boy he craved attention but at the same time was extremely shy. In his first concert, Elvis was so nervous yet completely absorbed in the music he danced clumsily. When the girls screamed, he was terrified because he thought that they were laughing at him, but when he found out that was because they loved his moves and music, he defined more of his dance moves, and screams increased in both volume and attracted more girls. However, the reaction from the opposite sex was different, because men and boys did not see that talent at first and thought that the moves were "not

11 planned out." Often on the second time they saw Presley though, things dramatically changed. There were so many screams from the girls that no one could hear what he was saying, and Elvis' moves were definitely less spontaneous. From then on, he was the icon and obsession for all boys and girls, the girls to someday marry him, and the boys to someday be like him. As the days went on in Presley's life, especially before and after he was drafted into the war, it took a toll on his number one celebrity lifestyle.

After the death of his beloved mother right before he was drafted into the army, Elvis was devastated. Although his mom was probably the most important person in his life, she certainly was not the only women in his life because he also had several girlfriends. He was always accompanied by the most attractive women in the city he was in, along with other adoring fans. He only had a few major women to whom he was completely devoted, but of course, his music always came first along with his media appearance. Teen girls, who were the main reason for Presley's success, loved him for three things: his irresistible looks, dance moves, and the fact that he was single. This was what every teen girl expected and wanted Presley to be; hence, his manager forced him to be this way. Because of the frequent switches between lovers, he influenced both boys and girls in favor of the idea of more frequent teenage sex and the image of one-night dates and sexuality itself.

The rebel attitude that Presley carried was what he thought was the key attraction to his success. Very few pictures of Elvis during his teens and in his twenties showed a smile on his face. Instead they showed a grim, almost scowling look, which was at that time and even today, appealing and "sexy”. These ideas were influenced by Presley's main role model, James Dean, with his movie Rebel Without a Cause. When Elvis made his own movies, it also showed the never smiling seriousness before kissing a girl. Not only did Elvis make this effort, the media showed him as an innocent baby-faced boy that looked appealing to the teenage atmosphere at the same time by selecting pictures of Presley that had minimal signs of nervousness and adolescent behavior. As accompaniment to the attitude, he needed hair. Shaped in a ducktail that was fairly long and stuck out, it was a major component of all Elvis impersonators.

During Elvis' lifetime, his music has influenced too many musicians to count. Named the King of Rock, the day that he died, John Lennon exclaimed, "Before Elvis, there was

12 nothing" and so it was for the era of rock and roll music. Beloved fans, including Chicago fans still come to his mansion in Graceland hoping to see glimpses of who he once was and various signatures and scratches of initials are on the front gate.

2.1.3 The Beatles

It’s difficult to underestimate the Beatles’ influence on the course of popular music in America. Like certain other key individuals in the history of American pop, such as Benny Goodman, Frank Sinatra, and Elvis Presley, they caused an initial fervor, a “mania” period when teenagers expressed their excitement en masse at their concerts and public appearances. But the Beatles, like their predecessors (but even more so), progressed beyond this stage and became a cultural force, their compositions and attitudes transforming the way pop music was experienced by large numbers of people. Looking at the Beatles impact on the American youth, we can point out several ways in which they changed American culture.

The Beatles raised the bar for teen idol quality. They were a blast of cool air into a somewhat arid teen idol landscape in America. Not only were they intriguingly exotic with their Liverpudlian accents and unusual looks, but they were also like four teen idols wrapped up in one gleaming package. There was Paul, the cute and adorable one; John, the smart and slightly dangerous one; George, the quiet and shy one; and Ringo, the fun and goofy one. There was something for all teen tastes, made all the more enticing by the “all-for-one, one-for-all, lads” uniformity of their presentation: the matching mop tops, collarless button-down suits, and Cuban- heeled ankle boots.

They made irreverence hip in mainstream culture. the Beatles appeared at a moment in time when this type of attitude was still largely sub-cultural. The Beatles, a self-contained unit with a damn-the-consequences attitude, had as much to do with this transformation as anyone. They also opened the door for any number of bands who could express this attitude more freely once the barrier had been pushed.

Again the Beatles made long hair for men acceptable and even desirable. Long hair was seen as part and parcel of an eccentric artistic temperament, perhaps with a special exemption for religious men from exotic climes who grew their hair and beards devotionally. Then the Beatles showed up with their “moptops.”

The Beatles pioneered the music video. They changed the music video industry with their first film A Hard Day’s Night. The film features several full-song sequences that do not necessarily further the plot of the film but instead serve as expressions of the music.

They also made the world safe for rock cartoons. The Beatles was the first pop music cartoon; it was quite possibly also the first cartoon series that was based on real people. The scenarios were silly, of course. Although they didn’t participate in it beyond licensing their music, it was influential. New cartoons featuring rock groups both real (the Jackson 5, the Osmonds) and invented (the Archies, Josie and the Pussycats) followed in its wake.

We can go all day if it came to stating all their influences both socially and to individuals. All we can say is they were a revolutionist band that changed the way we experience music to date.

2.1.4 Fela Kuti

The musical genre Afrobeat originated in 1970s as a blend of traditional Yoruba music with jazz, West African highlife and funk. The pioneering style of Afrobeat is identified with the Nigerian artist Fela Kuti, who was renowned for his eccentric character, musical talent and involvement in post-colonial African politics. Born to a prominent Yoruba family, with anti-colonial activist roots, Fela Kuti was first ‘seduced by the fertile African jazz scene’ in London when he was there studying medicine in the 1960’s. Although he soon abandoned his studies and returned to Nigeria for a career in music, it wasn’t until almost a decade later that his band started to see success with the formation of Afrobeat. Their timeless recordings from the 1970’s made a significant impact

14 in the Nigerian music scene before gaining popularity around the globe. He is now ranked as number 46 out of 100 on HMV’s list of most influential musicians, with his albums The 69’ Lost Angeles Sessions, Best of the Black President, Expensive Shit, Live! Zombie and The Underground Spiritual Gameall remaining extremely popular to this day.

Fela Kuti’s music was inspired by the Black Panther movement, with lyrics that appropriated the ‘language of black power, socialist critique and Nigerian proverb’ in order to mock and criticize the military dictatorship in Nigeria during his time. In line with the newly gained independence from colonial rule across Africa, Fela encouraged his people to regain their self-reliance and self-pride. Another significant attribute of Fela’s music is the astonishing length of his skillfully crafted and ecstatic songs, some of which can last up to 30 minutes long or even more when performed live.

His influence perverse that of just trendsetting to more of a legacy. This is because he was responsible for the creation of Afrobeat style and the spreading the genre to the rest of the world. This in turn gives Africa as a whole a sense of originality on the global setting.

2.1.5 Suzanna Owiyo

Suzanna Owiyo is a renowned Kenyan musician and singer-songwriter. Owiyo has often been referred to as "the Tracy Chapman of Africa". Suzanna Owiyo’s music is a fusion of traditional western Kenyan Music with traditional African instruments, and contemporary rhythms. She has thrilled audiences the world over with her unique and magical voice. Born in Kasaye village near the lakeside city of Kisumu, Suzanna Owiyo was introduced to music at a tender age by her grandfather, who was a prolific Nyatiti player.

Her talent enabled her to win many trophies for her school during music festivals. Initially she performed as a background vocalist before starting her solo career. Suzanna has produced a number of songs since ‘Kisumu 100’. The hit song propelled her to immediate success, and led to numerous concerts in Kenya and abroad. Out of these she received nomination in the Kora Music Awards 2002 in the “Most Promising Female Artist” category.

She won Kisima Award for the same category in 2003. She received the prestigious Order of the Grand Warrior of Kenya Award (OGW) from the President. In 2004 Suzanna was given an honor of performing at the Nobel Peace Prize Concert in Oslo. She has participated in various advocacy campaigns for creating awareness on various social concerns in Kenya. Suzanna once again shared the stage with world renowned celebrities at the 46664 Concert celebrating Nelson Mandela’s 90th and 91st Birthday at Hyde Park in London (2008) and Radio City Hall in New York (2009).

Suzanna received recognition as the 46664 Ambassador, Nelson Mandela’s Global Campaign that promotes human rights and HIV/AIDS awareness and prevention. March 2011 she performed with Youssou N'Dour in collaboration European Tour dubbed “New African Voices”.

Suzanna is involved in a Girls Empowerment Campaign project titled “Because I am a girl” initiated by Plan International. She has trained in summer intensive course on Arts in Medicine at the University of Florida. Suzanna has supported several charities for women and children locally through her music and donated directly through her “Suzanna Owiyo Trust”. Suzanna is currently the UNEP’s Goodwill Ambassador. A partnership that will see her bring home the need for environmental action at all levels of society to her fans.

She is also Plan International Goodwill Ambassador under Because I am A Girl Campaign. A movement that is aimed at empowering girls around the world and end gender discrimination

With all these achievements and projects up sleeves, Suzanna is surely an icon to recon with. She is a role model, motivational speaker, and she understands social issues affecting the society. This sets her as a perfect inspirational figure. We can say ‘the face of the campaign’.

2.1.6 Sauti Sol

Sauti Sol is an award-winning afro pop group from Kenya. Comprising of Bien-Aime Baraza, Willis Austin Chimano, Polycarp Otieno and Savara Mudigi; the group mixes their soulful voices with vocal harmonies, guitar riffs and drum rhythm. Sauti Sol blends warm resonant pop with traditional Kenyan influences. Their mélange of energetic rhythms has promoted the group to become one of Africa’s most celebrated and East Africa’s pioneers of a fresh sound that has inspired the sprouting of many other bands from East Africa.

From a very young age these four group members were led to believe that music was a valueless pursuit but together they fought against these prejudices and stereotypes and in so doing developed a certain confidence in their art form that adds a fire to their exciting live shows. Theirs is a marriage of warm and resonant pop with traditional Kenyan influences, making them popular amongst local and international audiences.

Sauti Sol opened a whole new chapter in Kenyan music when they released their debut single, Lazizi. Their fresh, distinct and acoustic sound was well received by the Kenyan market. The band members have expressed surprise at their sudden popularity. Singing about everyday issues in their songs, such as asking a girl out in Lazizi and being harassed by police officers in Blue Uniform, has endeared them to music lovers in Kenya as well as in other parts of the world.

Any live performance by Afro pop the Kenyan quartet, Sauti Sol, is sure to come with an eclectic display of showmanship. The group is backed by a troupe that alternates the roles of actors, singers and dancers, creating a dynamic interaction and connection with the audience. Take Sauti Sol’s performance of “Blue Uniform” during a Niko Na Safaricom Live concert, one of the biggest music tours in East Africa. For this song — which relates the relationship between citizens and the police in Kenya — actors filed on stage, playing the roles of a policeman and a policewoman, and a group of dancers soon joined, fusing traditional Kenyan moves with hip-hop.

It’s this drama, coupled with the group’s vibrant, eccentric personalities and sense of style — a combination of skinny jeans and blazer jackets or shirts made from traditional, colorful Kenyan fabric — that gives the quartet its signature stage presence.

The gifted Kenyan man band, released their latest single Nerea and the fans have been gushing since. The song Nerea is a collaboration between the hit-makers Sauti Sol featuring the amazing voices of Amos and Josh. This is the 5th single from Sauti Sol’s upcoming album, LIVE AND DIE IN AFRIKA. Nerea is a beautiful blend of melodic male voices, emotionally pure with meaningful lyrics. Some might even say conscious. While Sauti Sol’s harmony never fails to hit the spot, it’s the message in the song that has become a conversation starter. In Nerea, Sauti Sol make a pro-life stance, urging women to give the unborn child a chance to life. As expect, they ruffled feathers in the pro-choice camp. No consent over abortion is ever sought from men because stereotypically, men are never keen on embracing the responsibility of unplanned pregnancy. For a generation of men typecast for evading responsibility, Sauti Sol in Nerea, offer a powerful counter narrative. Some men care for fatherhood and they are ready to become fathers and raise their children.

But to really get it, one has to go back to the beginning. Sauti Sol came into the limelight, fresh faced and bright eyed with their debut albumMwanzo. It was a new sound that transcended generations. They sang mostly in Kiswahili, coming across as patriotic and authentic. A world apart from the mindless copycat twaddle that dominated the Kenyan music scene. In the single Lazizi from the debut album we find a song for the young man trying to find his footing in the dating world. Sauti Sol takes dating back to the basics. That men should embrace the simple things, like taking the girl you like for a coffee date at Java. In Zosi, from the same album, they beseech a prospective girlfriend to see their budding potential as they stave off competition from older men with deep pockets.

By their second album, Sol Filosofia, their lyrics got more poignant. In the song, Coming Home, we find an account on how depressing men feel when they get cheated on and why suicide is not how one gets over a heartache. Romantic love is not worth dying for and that goes for football too. In the song, Awinja, sung in the Luhya language is a touching tribute to all mothers for the sacrifices they make in raising boys to men.

They go deeper in I Don’t Wanna be Alone Shukuru featuring rapper AY from Tanzania, where the refrain is to go beyond the allure of materialism and in search of a purpose driven and spiritual life journey. The song Soma Kijana is all about staying in school and respecting education even if all you want to be is an artist. Education and artistic pursuit

18 are not at odds and they have degrees to prove it. Sauti Sol threw in a warning for the impressionable lads in Money lover. It is a song about the tribulations of new-found success, the hollow hype and the fleeting fame of showbiz.

Sauti Sol group members are all in their late twenties and the maturity shines through in their highly anticipated third album Live and Die in Afrika. Still The One, is a single dedicated to childhood sweethearts and for those naysayers who believe puppy love will never last. It is one of my personal favourites. Then they switched gears and horrified their conservative base with the risqué, Nishike, a steamy, fog-up-the-windows and bring out the dripping chocolate, kind of love song. Modern African men can play up sex appeal too. But they quickly won back hearts, including President Uhuru Kenyatta’s with Sura Yako, a song about a traditional pre-wedding ritual that had ‘good man’ draped all over it. Apart from the addictive sing and dance along tune was a subtle endorsement for the place of traditional rituals in contemporary relationships.

Therefore, any parent who feels distressed by the news of radicalized and disillusioned youth up to no good should not lose hope. On the opposite side of the spectrum is the Sauti Sol generation. Young men living, contributing and making it in Afrika. Bien-Aime, Delvin, Chimano and Polycarp better known as Sauti Sol have earned their place in Kenya’s list of most influential personalities.

From the colors and rhythms of their native Kenya to a presentation style all their own, the members of Sauti Sol are taking Africa to the world’s stage and dreaming big for what’s to come.

Sauti Sol launched the SOMA SOMA Initiative (2012) that seeks to develop a peer to peer mentorship culture amongst school-goers throughout Kenya. By identifying various institutions, the group seeks to engage partners to go around to these institutions with this message. The initiative has since touched lives through various events:

 Giving a talk on Careers in the Sports and Arts at Equity Group Foundation 4th Annual Education and Leadership Congress at the Kenyatta University (2013). Mentoring 700 students and 100 teachers from Kenya’s 47 counties

at the Annual Secondary Schools Student Leaders National Congress (2013).  Messages to Tana—the inaugural program (2012) orchestrated by Jane and Annette of Aga Khan Academy Mombasa. The initiative focused on rallying students from various schools around Mombasa, to write messages of hope to their counterparts who were affected by the violence in the Tana delta. The campaign ran for one month culminating in a concert at which Sauti Sol performed to raise funds towards the cause after which they mentored students who showed up.

2.2 The Kenyan Youth

According to the World Development Report (2007), employment marks an important transition period for young people and it is characterized by independence, increased responsibility and active participation in national building as well as social development. A successful transition to work for today’s many young people can accelerate poverty reduction and boost economic growth.

In spite of the benefits and opportunities brought about by employment, it is regrettable to note that majority of Kenya’s young people are unemployed, underemployed or underpaid and are therefore in the swelling ranks of the working poor. In fact, according to the International Labor Office [ILO] (1995), the vast majority of jobs available to youth are low paid, insecure, and with few benefits or prospects for advancement.

Creation of adequate employment opportunities to absorb the rapidly growing labour force remains one of the greatest challenges in Kenya and indeed in many other countries of the world (Omolo). According to Cincotta (2005), a large proportion of young adults and a rapid rate of growth in the working-age population tend to exacerbate unemployment, prolong dependency on parents, diminish self-esteem and fuel frustrations, which increase

20 the likelihood of violence or conflict. Unemployment also causes social problems such as crime, drug abuse, vandalism, religious fanaticism and general alienation in the vicious circle of poverty. These patterns will persist in the future if no holistic approach is initiated to alter the employment challenges facing the youth (Omolo).

There are about 500,000 youth who graduate from various tertiary institutions ready to enter the job market every year. However, due to the slow economic growth, corruption, nepotism and demand for experience by potential employers, 75% remain unemployed. Is unemployment the end of it all? Why don’t you challenge yourself into doing something of your own creation through talent and acquired skills?

One of the greatest challenges in Youth Empowerment and participation is how to ensure that young people are passionate about causing transformation in Kenya. Youth Empowerment and Participation is the quintessential force for causing such transformation. Young people need a youth branded platform from where they can speak powerfully, take appropriate action, and inspire belief that will have a catalytic impact all over the country through youth-led development initiatives. Youth empowerment and participation is a dynamic cycle. Overall, it is anticipated that the outcome of Youth Empowerment and participation is strong contribution to National prosperity, economic competition and reduced unemployment. When empowered, young people can contribute greatly towards good governance and democracy with a passionate desire to be catalyst for self- empowerment.

The unemployment problem is global and presents a particularly difficult labor market experience for youth. In Africa especially, unemployment continues to be a major obstacle to the full utilization of human resources despite relatively strong growth in the region over the last decade.

Youth in Kenya are experiencing much higher unemployment rates than the rest of the Kenyan population, as seen in Table 1. In 2005/06, youths aged 15-19 and 20-24 years had unemployment rates of 25 percent and 24 percent, respectively—about double the overall unemployment of 12.7 percent for the entire working-age group. Based on the 2009 census, the open unemployment rates declined for youth, but among youth aged 15-19 and 20-24 years these rates were about 15.8 percent and 13.1 percent, respectively—relative to a total

21 unemployment rate of 8.6 percent. Interestingly, in recent years, the unemployment rates of females and males aged 15-19 and 20-24 years are quite comparable, though this trend is similar across all age groups in Kenya. For example, in 2009, male youth aged 20-24 years had an unemployment rate of 13.6 percent relative to the females’ rate of 12.6 percent.

There is a substantial variation in unemployment rates in urban and rural regions. In 2005/06 as well as 2009, the respective urban total unemployment rates of 19.9 percent and 11.0 percent were about twice as large as the rural rates. Like the national trends, within these regions, youth unemployment was much larger than that of the working-age population. In urban areas in 2009, for instance, the overall unemployment rate was about 11.0 percent relative to a youth (20-24 years) unemployment rate of 19.1 percent.

Table 1: Unemployment Rate in Kenya by Age Group.

The research therefore seeks to develop a further insight into the problems affecting the Kenyan youth, their causes and possible and applied measures in place, to build a bases for the background of the problem. In this case we focus on unemployment as a devastating social problem. And how can we help towards solving this global menace? Creation of employment opportunities by utilizing all potential resources at our disposal. But before all these, let’s explore some of the causes of unemployment in Kenya.

2.2.1 Causes of Unemployment among Kenya youth.

Majority of the unemployed in Kenya are the youth. They account for the biggest percentage of the job seekers in Kenya. This is a major drawback to the economy because the youth are the most productive members of the society. All this labor left out means less production and even more liabilities to the economy. Youth unemployment statistics in Kenya show that 60% of the Kenyan population is under the age of 30.

High Population Growth Kenya’s population is growing at a very fast rate compared to the economy. There are more people than the current economy can sustain therefore the large number of unemployed persons in Kenya. Such a high population growth rate is incompatible with the available arable land in the rural areas. Hence people tend to migrate in the urban areas in search of jobs. This aggravates unemployment in the urban areas. This increased population coupled with unemployment really lowers the per capita income of the Kenyan economy.

Global Economic Recession Recent global economic recessions have reduced the capacity of most economies to reduce unemployment. Kenya is not an exception to this. This increased recession has led to many companies laying off most of their employees to cut down on operational costs. The problem can be solved through greater international co-operation. This is illustrated by the study done by Agrawal, (2009). The study found that Kenyan workers face massive lay- offs, no salary increments and a freeze on new jobs as companies struggle to survive in a bad economy. It also established that 7300 workers have already been sacked and a further 6000 are expected to lose their jobs by December, 2009. It has also discovered that many

23 companies will pay out smaller dividends to shareholders and are rescheduling their debts to stay afloat. Over 50% of the companies which participated in the survey have agreed that their sales and turnover has gone down below expectations. High cost of fuel and transport and poor road network are considered as the major factors responsible for the economic slowdown.

Inappropriate Education System

The Kenyan education system has been very good in imparting knowledge to students for a long time. But the problem has come up whereby it has been seen to teach students how to pass exams and not how to become productive later on in their lives. This has had damaging effects on the students after completion of school. These students have few skills that they can apply in the job market and if they have they are not appropriate for the kind of jobs they are looking for. The education system in Kenya was preparing people for jobs that were not there. The 8-4-4 system of education is designed to try to overcome this anomaly. It is intended to make people self-reliant. But it has a long way to go before it can really have an impact on the kind of labor it provides to the Kenyan market which of late has been an economy of job seekers.

Seasonal Jobs

In Kenya most of the jobs available are usually seasonal, there are there for a specific period of time. Demand for labor in rural areas is mostly seasonal. This is made worse by the general ignorance of the existence of jobs elsewhere as well as by occupational immobility. This creates problems of underemployment and disguised unemployment. Also some of the contractual jobs that come up especially for the manual laborers getting a job after that can take a while due to lack of any professional skills to back them up.

Capacity Under-utilization

Most firms tend to produce below their capacity, thereby not employing as many people as their capable of. This arises due to lack of sufficient demand of their products. It can also be as a result of monopoly practices that limit output. These companies don’t lack the ability to hirer manpower but continue underutilization to save on the cost of production therefore increasing the level of unemployment in Kenya.

Imperfections in the Labors Market

There are imperfections in the labor market caused by government and trade union interventions. This has tended to distort the labor market by maintaining minimum wages above the market equilibrium. As such, the wage structure in Kenya has failed to coordinate demand and supply

2.2.2 How can the Problem of Unemployment in Kenya be solved?

Unemployment has a major negative effect not just on the individuals themselves but also on the collective economy. These unemployed persons especially the youth can result to other methods of seeking money; these include criminal activities which for many years have provided an avenue for easy money. Also the increased number of dependents who are not contributing anything to the economy further lowers the per capita income. Unemployment as a social problem however cannot be solved with absolution as it is a gradual process that involves every society member one way or another. However, it is someone’s responsibility to create awareness of possible alternatives and even available platforms to the target audience who are the youth in this case. There are also several measures that can be put into play for better nurturing and upbringing of the younger generation. First;

Change Education System

The Kenyan education system should teach individuals how to be self-reliant and work harder towards self-employment. This can only happen if the level of specialization starts early in the students’ life. These students will be able to nurture their skills from a tender age. This makes them even better than they would have been specializing in the last years of their studies. In our current education system, we teach our children that success is defined by the kind of employment they will land on after campus. So they will have to depend on someone to create that employment for them. Why not teach them to create employment for others?

The foundation we lay for our children today, will determine the future of this nation. Let us teach them to be individuals, be different, inspire creativity, and engage them to work with their hands.

2.2.3 Youth and Talent

2.2.3.0 Theories of Talent Development

Theory by Benjamin Bloom

Benjamin Bloom in his reflective study of talent development, isolated tree distinct stages. First, in childhood there was rapid progress in learning in one or a few specific talent areas. Supportive parents, highly stimulating teachers, and peers provided guidance, instruction, and motivational support. During the middle years of high school, the second stage emerges. Here the youth becomes increasingly motivated and committed to the development of their own talents.

The third stage, the college years, emerge with a strong commitment on the youth’s path to the areas of their budding talents and expertise. The young person makes a career commitment to the talent field, develops a style of operating and working in the chosen field, and forms a clear understanding of the chosen field and its demands. The youth becomes acquainted with leaders in the chosen field and sets high-level creative goals. An emerging mastery enables the talented person to look beyond the defined knowledge and procedural base of the chosen career field and to envision creative new directions, styles, or theories to pursue. The talented individual is now ready to launch into the field both as expert or artistic practitioner and as creative leader.

Theory by Francois Gagne

Francois proposed a model for talent development that is not specific in designating ages and stages but does suggest that the child begins with aptitudes or abilities that are probably genetically determined. These aptitudes are stimulated by, are evoked by, and interactwith environmental and intrapersonal catalysts surrounding the child and result in increasingly specific talent strengths. The intrapersonal catalysts are focused in personality and

26 motivational characteristics of the child and later the youth. The environmental factors include people, the environment, physical resources and chance encounters.

Theory by David H. Feldman

He proposed that creative talent grows through a series of six stages and ages:

1. 0-18 months - Basic intelligence emerges 2. 18 months to 4 years - symbolic representational cognitive systems emerge. 3. 4 years to 10 years – Growth occurs in cognitive control through exploration and observational experiences. 4. 10 years to 13 years – specific talents develop through experiences and mentors, role models, contests, apprenticeships, and schooling. 5. 13 years to 18 years – the young person makes commitments to the development of their own talents, develops ideals and values, and the talent itself, as well as talent development, become part of the youth’s self. 6. 18 years to 22 years – the talent is fully crystallized as the young person settles on a career choice and inspirations.

2.2.3.1 Recognizing Talent

A combination of tests, rating scales, behavioral observations, and case analyses can all be used to identify children’s talents, but it is probably best to provide educational experiences and instruction as a stimulation for emerging talents to manifest themselves. The field of gifted education has been extremely concerned about precision in the identification process and in labelling children as ‘gifted’ or ‘ungifted’, processes that have many undesirable aspects. It seems far more profitable educationally to engage in identification procedures that discern emerging aptitudes and talents as well as interests in children, to provide a variety of educational experiences to foster the emerging talents, and to forgo labelling or categorizing youth as ‘talented’ or ‘untalented.’

Test instruments and scales for assessing gifts and talents and rating scales are also available for a wide variety of academic and vocational talents. Finding youth who will

27 develop their talents and creative abilities to high levels of creative achievement is still an indefinite science. The evidence indicates that it will be much more profitable to focus efforts on identifying a youth’s specific talents and emerging creative abilities than simply searching for generally gifted youth who, although they may excel academically, do not go on to high level creative achievement. By identifying specific talent strengths and creative abilities, we can design educational programs that will help youth excel in creative careers that grow out of their specific talents.

2.2.3.2 Nurturing Talent

Talents emerge and grow through diverse learning experiences. Intelligence alone is not a sufficient predictor of creative achievement. Creativity represents the highest level of achievement in a field of occupation. There are three indispensable elements in the lives of creatively productive people: one is appropriate cognitive skills, a large knowledge base in a field and a set of personal traits. The personality traits include flexibility, intrinsic motivation, sensitivity to details and essentials, intense independence, and a sense of creative power.

We can nurture both talent and creativity by providing a variety of educational experiences from which youth can, with guidance, select those classes, courses, and extracurricular activities that relate most directly to their emerging talents. The experiences should be rich, in-depth, and accelerated to fit the precocity of talented youth. The learning experiences if talented, precocious, and creative youth should also relate to the real world and its imperatives, processes and pathways.

Finally, it seems that some metacognitive planning skills should be a part of the armament of the emerging creative and talented youth. There should be a growth planning process in which talented and creative youth are led in an effort to help them pull together and understand information about themselves. This process should include test scores, rating scales, interest analyses and learning styles. Youth should use the information to set short and long term goals for themselves in the academic, career, personal and social areas.

2.3 Art Styles

2.3.0 Art and Communication

Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication. In mathematical terms, art is a member of the set of communication. What makes art different and special is that it is a communication that has value.

However, considering that art is communication and that the term is used to describe the quality of communication, we do open the field to many expressions that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true that art as the quality of communication expands the definition.

A painting can demonstrate several things. The artist’s intentions need not be known for a communication to occur; therefore, artist’s statements of intentions are not significant. Indeed, it suggests that an artist would do well to dispense with any vanity on the subject. It suggests that the art that will be considered truly great will be the kind of art that is actually completed by the viewer. This is the singularly remarkable characteristic of art that comes down through history as truly great. Ambiguity of communication in art is a highly valued characteristic, evidently.

Like we have seen, art and communication are tangled in their own specific ways. However, the researcher describes art as a tool of communication, which is not a wrong description. Artists use art to express their self-emotions in some cases. Others use it as a medium of a message delivery, maybe be for a propelled course, like youth issues awareness campaigns. Visual communication, which entails art, is a vital medium when it comes to information delivery in modern day society because of the technological era advancement.

Visual communication entails a variety of styles that are applicable to different and specific audience. When it comes to visual communication the main aspect that is used to filter out the target audience is age brackets. This is in relation to the aspect that people of a certain age bracket will process the visual information in the same manner other than a two generation comparison. There are several styles that comprise visual communication of which we are going to discuss: we have photography, paintings, cartoon and comics, 3d animations, graffiti art, to mention but a few.

2.3.1 Photography

Photography is a tool that helps people communicate to others what they find beautiful and important in day to day life. It allows an individual the ability to communicate small moments in time when particular emotions or moods are felt. The artist can communicate expressions such as joy, sorrow, humility or wonder. The artist can change the way they personally perceive the world and promote change in the way others see.

A critic named Blaagaard explained, ‘language is absorbed and read in a host of various methods that are constantly changing. The meaning of words can seem outdated; they reflect the society for which they were produced and intended. However, images come as an outside language-one that can leave viewers speechless or empowered.’

Why photography?

‘Visual messages become an individual form of aesthetic wealth that enriches our daily lives, which cannot be conveyed in words without great loss’_Scharfstein, 2009. Art philosopher _Scharfstein, 2009. Believed our curious brains interpret the world’s symbols around us. The brain needs curiosity to probe the world around it and the curiosity needs the imagination as a platform to explore and recall.

Imagination, in turn, needs art, or rather, takes the form of art, in order to make its imagined possibilities less fugitive, more tangible, and more accessible to exploration. If, lacking art, our imaginations would not cumulate or have art’s tangible bodies to explore and recall, it would be harder for us to keep our interest alive by entertaining ourselves with any art’s many forms. _Scharfstein, 2009.

Scharfstein explained that without art and the imagination humans would be much sadder, duller versions of themselves. We all have a need and hunger to create. ‘Art is the instrument we use in order to give virtual presence to everything that interests us but is not effectively present enough to overcome the restlessness of an imagination too idle for its own comfort’_Scharfstein, 2009.

A person needs to create so that they can either make something new or renew an idea while exercising a skill that is itself exhilarating. Scharfstein believed that when the experience results in very successful art making, it in turn culminates in the makers’ feeling of astonishment and gratitude. The author explained the need for art: making, contemplation, possessing and repossessing. People put worth into their artworks as it enriches and extends us. _Scharfstein, 2009 said, ‘the worth of the art we have assures us of our own worth; but along with the art we acquire sensitivity to something other than ourselves; the messages that it conveys’.

‘A photograph is a very powerful thing that speaks across cultures and generations to remind us all of how we carry, and have carried, ourselves in this world’. Ketchum, 2013.

2.3.2 Cartoons and Comics

Cartoons and their effectiveness in communicating

A cartoon is a simple drawing showing the features of its subjects in a humorously exaggerated way, especially a satirical one in a newspaper or magazine. Cartoons are one of the most effective means of communication we have. Here we will look at just why cartoons are so effective at communicating with human beings, and why we are hard-wired to take their messages on board ahead of other forms of communication.

Wordless Communication

Cartoons can convey a message far more quickly than a written notice, for example. For one thing, you don’t need to be able to read to understand a cartoon. This makes it an ideal medium to reach a really wide public. Often public service

31 communications will contain cartoons to illustrate their message, or to underline the written content of the message, just to ensure that those who are either illiterate or non-native speaking will grasp the meaning. Government certainly understands the importance of cartoons, and it can be the ideal way to make sure health and safety messages are heeded.

Child’s Play

We grow up with cartoons and become used to the way they function from an early age. This means that the cartoonist, or a manager using a cartoon to deliver a message, has a pre-primed audience. Cartoons can be used powerfully in advertising across many industries too.

Diffusing Tension

Cartoons also have our childhood associations with humour, happiness and fun, and can serve to relax an audience in a potentially dull or tense meeting. They act as icebreakers, uniting your audience with humour and the pleasure of shared communication. This is particularly good when working with an audience of people who don’t know each other.

The Skill of the Cartoonist

The skill of the effective cartoonist is not simply the ability to draw well. It is the ability to distill an idea, or a joke, into a few short words and images. It’s this communication short-cutting that makes the cartoon carry the message so effectively. Often cartoons will use the power of observational comedy, which again allows the audience to identify with the message.

Fig 1.

In the above health and safety cartoon, we see a guy not lifting correctly, and another one showing you how to lift it from the knees.

2.4 Communication for development (C4D)

The approach to Communication for Development (C4D) has evolved over the years. Initially developed after World War II as a tool for diffusion of ideas, communication initiatives primarily involved a one-way transmission of information from the sender to the receiver. This includes largescale media campaigns, social marketing, dissemination of printed materials, and ‘education entertainment’. Since then, C4D has broadened to incorporate interpersonal communication: face to- face communication that can either be one-on-one or in small groups. This came alongside the general push for more participatory approaches to development and greater representation of voices from the South. The belief is that while mass media allows for the learning of new ideas, interpersonal networks encourage the shift from knowledge to continued practice.

Communication for development has thus come to be seen as a way to amplify voice, facilitate meaningful participation, and foster social change. The 2006 World Congress on Communication for Development defined C4D as ‘a social process based on dialogue using

33 a broad range of tools and methods. It is also about seeking change at different levels including listening, building trust, sharing knowledge and skills, building policies, debating and learning for sustained and meaningful change’. Such two-way, horizontal approaches to communication include public hearings, debates, deliberations and stakeholder consultations, participatory radio and video, community-based theatre and story-telling, and web forums.

Communication initiatives aimed at changing attitudes and behaviors

Communication initiatives aimed at changing attitudes and behaviors have increasingly been used in the health sector since the 1970s. Such initiatives – including television and radio shows, theatre, informational sessions and pamphlets – can and have affected social norms related to gender roles, since gender norms are linked to all facets of health behavior. Initiatives that seek to affect gender norms and inequities as a goal in itself, however, are a relatively new phenomenon.

Community radio is considered to be an effective tool in promoting women’s empowerment and participation in governance structures. Radio is often the primary source of information for women. It is accessible to local communities, transcends literacy barriers and uses local languages. Afghan Women’s Hour, for example, aims to reach a large cross- section of women and offers a forum to discuss gender, social issues and women’s rights. It was found that female listeners demonstrated a pronounced capacity to aspire, defined as the ‘capacity of groups to envision alternatives and aspire to different futures’ (Appadurai, cited in Bhanot et al., 2009, p. 13). Women developed specific aspirations in areas that had been recently covered by the program segments. Their aspirations, however, were not particularly focused (Bhanot et al., 2009). Challenges with other community radio program initiatives include women’s general under-representation and in some cases, the negative portrayal of women.

Participatory approaches are considered to be an effective tool in encouraging alternate discourses, norms and practices, and in empowering women. The use of sketches and photography in participatory workshops, for example, has encouraged women who have traditionally been reluctant to engage in public forums to express themselves.

In order for the empowerment of women to have a genuine impact, opportunity structures also need to be addressed, such as conservative and male opinion. Afghan Women’s Hour has a large male audience (research by BBC Media Action found that 39% of listeners were men), which provides a way to challenge male views on gender norms. Group educational activities, a common program for men and boys, also have the potential to contribute to changes in attitudes on health issues and gender relations and, in some cases, changes in behavior.

It is also important for communication initiatives to build on tradition and culture, not only because this can resonate better with communities, but because it can help to mute opposition from conservative segments of society. The involvement in projects of key community leaders such as teachers, cultural custodians and government officials is also important for greater impact and sustainable change.

2.4.0 Behavior Change Communication (BCC)

Behavior change communication (BCC) is an interactive process with communities (as integrated with an overall program) to develop tailored messages and approaches using a variety of communication channels to develop positive behaviors; promote and sustain individual, community and societal behavior change; and maintain appropriate behaviors.

FHI’s pragmatic BCC approach, based on sound practice and experience, focuses on building local, regional and national capacity to develop integrated BCC that leads to positive action by stimulating society-wide discussions. BCC is both an essential component of each program area and the glue between the various areas. However, society- wide change is slow; changes achieved through BCC will not occur overnight.

2.4.1 Choice of channels

A channel is the way a message is disseminated. It is important to know which channels can most effectively reach particular target populations. Identifying the range of available channels should be part of every formative BCC assessment.

Messages can be delivered through mass media—for example, television or radio spots; articles in periodicals; or material in brochures, posters, flip charts, picture codes or comics—or in-person, by health workers, peer educators, counselors, or other trained personnel. Additional means of delivery include musical or dramatic performances and community events. Messages can be reinforced with “gimmicks” such as key chains or stickers.

It is important to think about how particular channels can help achieve particular goals. Each medium has its own advantages and disadvantages, so that each may be best suited to a particular circumstance. For example, research has shown that mass media can raise awareness of specific facts, because the mass media are assumed to carry a certain authority and reliability. Mass media can also model behaviors and positive attitudes in the person of respected members of the target community. Later on in the process, however, target populations appear less interested in media authority than they are in the opinions and behaviors of people to whom they feel close. Interpersonal communication becomes primary, while the mass media play a supporting role.

If mass media are used, it is important to know which radio stations and TV programs are popular with the target population. It may not be cost-effective to use a less expensive AM news station if the message is intended for youth who primarily listen to FM music stations.

2.5 Exemplar

2.5.0 The Shujaaz

The Kenyan magazine stars Boyie, a high school graduate who, in kanju style, has built an FM radio station in his mother’s basement. Broadcasting in secret, “DJ B” befriends a

36 diverse crew of youth, with whom he trades advice on how to make money and improve their lives. Malkia is a punkish teen living in an unnamed city on the coast, drawn in a slashing anime style. Charlie Pele is a football-obsessed boy living in an unidentified slum area in central Kenya. Maria Kim is a sensible, studious teen taking care of her younger brother. Their surnames and cities are purposely vague; fans are free to project their reality (and tribe) onto the characters. (Dayo,2014)

Shujaaz means “heroes.” Instead of battling traditional baddies with superpowers, the kids deploy common sense and homegrown innovations to win moral victories and sometimes cash. The first issue of Shujaaz urged readers to dye their chickens pink. The practice, piloted in west Africa, prevents baby chicks from being taken by birds of prey. As it turns out, between 50 and 80 percent of chickens are snatched by hawks while they are running around the farm. The bright dye confuses the predators and helps farmers to keep their investment. In the comic, Charlie Pele’s mischievous brother dyes the family poultry—but when the hawks show up, his angry father has to acknowledge the benefit.These and similar stories are simple and splashy, told in a pitch-perfect fusion of Swahili and English known only to the young as Sheng. The subject matter might appear to be banal—seed soaking, alcoholism, “national cohesion”—and the mandate a bit sentimental. But the aesthetic is effortlessly hip, and in the hands of the very capable young illustrators, writers, actors, and producers, the ideas come alive. (Dayo,2014)

Fig 2. DJ Boyie- Shujaaz main character

Fig 3. Seeding new ideas in agriculture, by Shujaaz comic.

Shujaa is a comic with serious messages: The One World Media Awards recognizes excellence in the UK media’s coverage of the developing world. The Special award is presented to an outstanding project working on the ground in the developing world, where media activity has made a real impact on people’s lives. Shujaaz is an innovative multimedia youth communication initiative which combines 600,000 monthly free comics, daily broadcasts on 22 syndicated radio stations and social media to engage with young people in Kenya. It features a huge range of issues which are designed to help young people improve their lives. Some of these have been ideas for making money out of agricultural innovation. Other stories have looked at tackling tribalism and the aftermath of the post-election violence, governance, micro enterprise and broader human rights. Support for the project draws together both private sector and international development funding.

“Shujaaz is an incredibly effective way of communicating information to young Kenyans and their families, including poor farmers often in remote areas. It has provided vital guidance on farming techniques that can directly improve people’s lives, with stories ranging from ways of preventing livestock disease through to how to improve crop yield. I’m delighted that it has won.” International Development Minister Alan Duncan. “Shujaaz features four young Kenyans whose stories evolve each month as they engage with a range of social issues and ideas to help them get on in the world. We deliberately merge facts and fiction so that we can cover hard hitting material using advocates that our young audience have grown to trust and respect. Our regular readership is now around 6 million and judging by the text and Facebook messages we get each day we are making a real difference.” Rob Burnet, the social entrepreneur behind Shujaaz.

CHAPTER THREE

3.0 RESEARCH DESIGN AND METHODOLOGY

3.1 Research Design

The researcher will take a qualitative approach into the research. A qualitative approach means that the researcher will mainly make knowledge claims based primarily on multiple meanings of individual experiences and meanings socially and historically constructed to develop theories.

This study will focus on establishing what type of visual art forms appeal and relate to the Kenyan youth, as an effective way of instilling oneself entrepreneurially. The researcher will collect open-ended, emerging data with the primary intent of developing themes from the data.

3.2 Sample Population

The sample population for this study will mainly be the youth in tertiary institutions in Nairobi County. This is because they best relate to the social problem at hand and their large numbers within a small setting puts them at an advantage as a data source.

The population sample will be selected randomly without prejudice through convenient sampling and Snowballing

3.3 Data Collection Procedures

Research tools are instruments which are used for gathering information from respondents. The generalized and widely applicable methods are Questionnaire, Interview and observation. For this study however we are going to employ two instruments; questionnaires and interviews, to gather data from respondents.

3.3.0 Questionnaires

This is a carefully designed instrument for collecting data in accordance with the specifications of the research questions or hypothesis. Questionnaires are the printed sets of questions to be answered by respondents, either through face-to- face interviews or self- completion, as a tested, structured, clearly prevented and systematic means of collecting data.

The researcher will use both open-ended and close-ended types of question for the questionnaires for convenience purpose. However, close-ended questionnaires will prove to be a more resourceful data collection tool as compared to open-ended, since they are faster to answer (the limitation to “yes” or “no” answers) and more specific at the same time, thus easier to analyze the data collected.

The questions will be based on the research topic and relevant to the sample population.

3.3.1 Interviews

The interviews information will be obtained through inquiry and recorded by the researcher. Unstructured interviews will be performed by using survey forms while for the open interviews, notes will be taken while talking with respondents. The notes will then be interpreted for further analysis.

3.4 Data Analysis Tools

The data obtained from the questionnaires and interviews are assembled, analyzed using percentages, graphs, the facts interpreted, conclusions drawn and recommendations made.

The researcher will use Tech’s approach when analyzing the data. Tech’s approach is a method of data analysis whereby the data are first analyzed in the language in which interviews were conducted. The approach will involve:

 Reading carefully through all answers to get the accurate data, especially for the open-ended questionnaires.  Identifying relationships between the major and subcategories.

3.5 Data Presentation Methods

Graphical and visual representations will be appropriate method for the project presentation. These will include histograms, bar charts, pie charts and graphs.

3.6 Conclusion

A qualitative approach is thus the suitable method for study’s data collection. Appropriately designed questions that will be used in the questionnaires and interviews will ensure accurate and relevant data is collected. We predict the research however will face its challenges like non-cooperative respondents.

CHAPTER 4

FINDINGS

4.0 Overview

The following findings were carried out in a bid to find out how effective art is as a communication tool is among the Kenyan youth. The type of research employed in this context also mattered in that it allowed the sufficiency of understanding whether music inspired visual materials would be effective in delivering the message of a campaign aimed at sensitizing the youth on the importance of nurturing their talent. The findings were taken from a small area as the bigger scope of the project would have been time consuming and too wide for the nature of this research.

Based on research done by other researchers, the researcher found out the importance and need to nurture young talent for future use to help create employment through talent.

The consequent nature of the findings would allow us to measure the extent in which the applicability of such a tool would be in relevance to the interest of the study as to whether there would be improvement in the levels of understanding.

As stated in the methodology and procedures of data collection, various methods would be used to collect the necessary information for analysis in the research experiment. The first and foremost method of data collection was the semi structured questionnaires. The research being majorly qualitative as well as descriptive, employed questionnaires and interviews which were carried out to various participants who were mainly the youth of between 18 to 24 years. The experiment was conducted on tertiary institutions within Nairobi province which served as the sample geographical area within which it will serve to represent the whole scope of other institutions in Kenya. The two main locations on which this data collected is based upon is University if Nairobi and the Technical University of Kenya all located within the city of Nairobi.

The following is a brief description of the fieldwork excursion carried out in the course of the two months that the researcher was conducting the experiment as well as collecting data.

4.1 Questionnaires Findings

The research was conducted amongst the students of the University of Nairobi and Technical University of Kenya. The researcher sought to target youth involved in creative arts like design, architecture or visual performing arts. This it because most talented students, who were crucial data sources, were found in these courses. The turnout by the respondents was generally positive putting into consideration the tight time schedule. However, the research would gather more concrete info if there was time for further and adequate research.

It was deduced that majority of the youth prefer visual messages to just written information. This was clear in the number of turnout for respondents in respective questionnaires. The questionnaire without images was in most cases not picked by the respondents. There were only five respondents to this questionnaire while the others had more than double the respondents. This was established via observational means, a procedure that was not initially in play for the research.

More than half of the respondents admitted to musicians playing a vital role in their lives one way or another. From their music, trendsetting, eloquent fashion senses and in some cases as peoples’ mentors and role models.

When it came to talent awareness and utilization, the little data collected was not sufficient dasis to claim any theorie or facts concerning the youth talent situation. Researching further, from written documents and online sources, the researcher deduced that a majority of the talented youth do not invest in their talent for various reasons. They span from personal to even family reasons.

There are no appropriate measures and channels in place to nurture young talent and thus a need to put these channels into action.

4.2 Analysis of Findings

4.2.0 Overview

The focus of this chapter is to elaborate on the findings that the researcher uncovered during the span of this research.

4.2.1 Profile of sample population

The sample population presented in the previous chapter was profiled through the use of questionnaires to investigate various elements related to art as an effective communication tool. The semi-structured questionnaire formed a loose basis for the researcher to use during the various formal and informal interviews.

4.2.2 Talent awareness and utilization level among the urban youth

The researchers aim was to gather sufficient data concerning talent among youth. They sought to deduce youths’ perception of talent, its nurturing and utilization. However, the respondent turnout was really low compared to other questionnaires, as they managed to get only five respondents. Only one of the respondents had a talent in singing. This would have been a different case if the study had more time for data collection, for them to target a larger respondent turnout. The talented ones still had not utilized their talents before mainly for lack of knowhow or the parental stereotype towards certain talent based careers.

4.2.3 The youths’ art style preference and their effectiveness as tools of communication

To determine the art style preferences by the population the researcher sampled, they developed a questionnaire that entailed a set of images, and questions about them. This proved to be an added advantage when it came to respondent participation. The researcher noticed that the questionnaires that contained images were preferred by the majority to the ones without. From the word go, it is evident that the target respondents prefer visual to written information.

The researcher was able to collect data from 12 respondents, for this objective. All the 12 had an encounter with the depicted art styles one way or another. Either it is the wallpaper on your phone screen, or a beautiful hanging on your living room wall. Two thirds of the respondents preferred photography over paintings and cartoons. This because of the availability of plenty photographic content across many platforms including our phones. It is easy to generate, especially with the emergence of smartphones, and its direct and real.

Distribution of art style preferences among the Nairobi youth.

painting 25%

photography cartoons painting cartoons 8% photography 67%

Table 2: Distribution (%) Of Art Style Preferences Among The Nairobi Youth.

4.2.4 What influences are the Kenyan musicians impacting on the urban youth.

This is the area that had the highest number of respondent turnout at 15 persons. Maybe because majority of them related in a way, to the personalities in context. (Sauti sol and suzzana owiyo). Most of the youth were well conversant with them for various reasons that include their trendsetting character, the popular song, fancy dressing styles, to mention just but a few.

Ten of the respondents agreed to longing for a musician’s lifestyle for various reasons. Mainly because the youth associate these celebrities with the lavish flashy lifestyles, something they all want. The rest had their concrete reasons as to why they would not wish to emulate lives of those celebrities. More than two thirds of the respondents agreed that musicians are a great phenomenon of influence today especially when it comes to trendsetting in entertainment industry and social media.

CHAPTER FIVE

CONCLUSION AND RECOMMENDATIONS

5.0 Conclusion

This research has helped highlight some useful aspects when it comes to preferences by the youth. It is human nature that a visual message will attract more attention than a written or audio message. This is because a visual memory lasts longer in the mind and only needs a little hint to reignite in case of forgetting.

Visual communication being a useful tool to reach the youth, can be utilized by artists to relay art that is informative and relevant to the audience. This in turn gives art a purpose that is more than just beauty.

Talent can be genetic or a skill perfected over a period of time. Whichever way u look at it, it is an aspect that needs proper channels to nurture and develop for it not to go to waste. We have seen artists build career empires out of mere talent, a clear indication that with proper guidance and molding, talent can create employment for self and others.

It is upon all of us to take this initiative of nurturing talent as a crucial step towards creating employment in a bid to fulfilling Kenya’s vision 2030.

5.1 Recommendations

This research was conducted in a bid to deduce the best means to communicate to the youth through art. It looked at aspects of popular culture: this includes the popular musicians who are really an influence to the masses at the moment, personal preferences and tastes in aspect of art. It is proven and art has been used for ages as a communication tool. In some cases, the messages are vague and are perceived differently by different people, while others are simple and straight forward. The researcher seeks to develop most relevant and purposeful art for communication to the youth with the soul aim of nurturing talent in them. Along the study and from the findings analysis, we can see that what is in place at the moment is not the best and we can do more to better it. Drawing the line of thought from this aspect, here are some recommendations the researcher suggested:

For our youth to appreciate and relate to art as a tool of communication more, we need to invest in creation of more and relevant art material. Investing in our artists, local animation studios, and even in more talent nurturing institutions is a sure strategy that will ensure there is production of more art content. The local artists should take advantage of the social media platform to push for their message to masses through relevant and informative art.

A campaign aimed at sensitizing the youth on the benefits of talent utilization and nurturing would serve as a good reminder of the fact that talent can pay. It can create employment for oneself and others as a result. A campaign accompanied by well-designed visual imagery assures its success in that it is easily understood and serves the intended purpose. Good visual imagery sticks in people’s minds longer than other forms of communication.

Kenyan musicians by now should be well aware of their role as musicians in the society. Many youths look up to some of the as role models, others even mentors. They want to lead lavish lives like they perceive these celebrities to. Musicians can utilize this mass audience platform to push for positive change in the society as ambassadors or even their music. Sing to cause change.

Majority of the older generation today have totally different mindsets with the youth of today. The youth are now more liberal minded and aware. They can make decisions for themselves based on their preferences despite them not being acceptable to the older generation members. This is the stereotype that we need to change for there to be progress. We need to accept change, which is inevitable, and willingly adopt to new ways of doing things, this way we can venture into unexplored fields that are not dictated by academic qualifications, but by passion, abilities and talent.

Lastly, for long term solutions, the government needs to redefine some aspects of its system. The current education system is more focused on impacting knowledge into individuals, rather than train them to be productive later in life. This can begin by introduction of talent nurturing programs in institutions all around the country. This way we are able to grasp the benefits of that talent for the benefits of those individuals and others as a result.

REFERENCES Art And Communication, Posted By Rex Crockett On November 18th, 2006. Http://Artandperception.Com/2006/11/Art-And-Communication.Html

Cartoons are such effective effective communicators article by Richard. http://www.cartoonmotivators.com/blog/why-cartoons-are-such-effective- communicators/

Challenges Facing Kenyan Youths Article By Moraa New Hope Foundation. Http://Www.Moraafoundation.Org/Challenges-Facing-Kenyan-Youths/14-Youth- Developments/27-Challenges-Facing-Kenyan-Youths

Gender and media, by Ann Kangas, Huma Heider, Evie Browne on july 2015. http://www.gsdrc.org/topic-guides/gender/gender-and-media/#changing

Kenya Youth Fact Book: Infinite Possibility Or Definite Disaster? By Katindi Sivi Njonjo, 2010.

Sauti Sol Biography By Penya. Http://Www.Penya-Africa.Com/Artist/Sautisol/

Sauti Sol Dreams Of Greatness Article By Belinda Otas On March 2013. Http://Archive.Selamtamagazine.Com/Stories/Sauti-Sol-Dreams-Greatness

Sauti Sol Explained Article. Http://Everything.Explained.Today/Sauti_Sol/

Soma Soma Initiative By Sauti Sol. Http://Sauti-Sol.Com/Nihilne-Te-Nocturnu/

State Of Youth Unemployment In Kenya, By Boaz Munga And Eldah Onsomu August 21st, 2014. Http://Www.Brookings.Edu/Blogs/Africa-In-Focus/Posts/2014/08/21-State- Of-Youth-Unemployment-Kenya-Munga

Suzanna Owiyo Biography. Http://Www.Suzannaowiyo.Net/Bio.Html

Suzanna Owiyo , Wikipedia. Https://En.Wikipedia.Org/Wiki/Suzanna_Ow%C3%Adyo

The Future And Role Of Music In Modern Society Posted By David Cutler On Apr. 6th, 2010 In Mindset, Tsm Challenge. Http://Www.Savvymusician.Com/Blog/2010/04/The- Future-And-Role-Of-Music-In-Modern-Society/

We Love Them, Yeah Yeah Yeah: 7 Ways The Beatles Changed American Culture By Joe Mcgasko On Feb 7, 2014. Http://Www.Biography.Com/News/We-Love-Them-Yeah- Yeah-Yeah-7-Ways-The-Beatles-Changed-American-Culture

Why Kenyan Band Sauti Sol Holds The Key To Becoming A Modern African Guy By Oyunga Pala On April 27th 2015. Http://Modernafricanguy.Com/Why-Kenyan-Band- Sauti-Sol-Holds-The-Key-To-Becoming-A-Modern-African-Guy/

APPENDICES

APPENDIX A: Questionnaire 1. (objective 1)

(a) (b) (c)

1. Have you encountered or engaged with any of the art styles depicted above? If yes, which one(s) and how? (a) ………………………………………………………………………………… ………………………………………………………………………………. (b) ………………………………………………………………………………… ………………………………………………………………………………… (c) ………………………………………………………………………………… ………………………………………………………………………………… 2. Which of the three styles do u prefer? Give a reason. ……………………………………………………………………………………… ……………………………………………………………………………………… 3. How frequent do u encounter these styles? Tick where appropriate. Daily Weekly Monthly Rarely Never

(a)

(b)

(c)

APPENDIX B: Questionnaire 2. (objective 2)

1. Would you want to become like the personalities above? Yes, or no? Give us a reason for your answer. ……………………………………………………………………………………… …………………………………………………………….

2. Do u think the personalities above are ideal role models for the youth? Give us a reason for your answer. ……………………………………………………………………………………… ……………………………………………………………

3. Do the depicted personalities influence any social cultural behavior in you? If yes, specify. ……………………………………………………………………………………… …………………………………………………………….

APPENDIX C: Questionnaire 3. (objective 3)

1. Are you talented? If yes, what is your talent? ………………………………………………………………………………… …………………………………………………………………………………..

2. Regarding your answer in question 1, have u utilized your talent in any way? If yes? For what purpose? And if not? Give a reason. ………………………………………………………………………………… ………………………………………………………………………………… ………………………………………………………………………………… ………………………………………………………………………………....

3. Would you pursue your talent as a career? Give a reason for your answer. ………………………………………………………………………………… ………………………………………………………………………………… ………………………………………………………………………………… …………………………………………………………………………………..