Town The copyright of this thesis rests with the University of Cape Town. No quotation from it or information derivedCape from it is to be published without full acknowledgement of theof source. The thesis is to be used for private study or non-commercial research purposes only. University BANTU AND NILOTIC CHILDREN’S SINGING GAMES: A COMPARATIVE STUDY OF THEIR VALUE COMMUNICATION BY MICHAEL OYOO WECHE (STUDENT NUMBER WCHM1002) Town Thesis Presented for the Degree of Doctor of Philosophy in the School of LanguagesCape and Literatures of UNIVERSITY OF CAPE TOWN SOUTH AFRICA University JULY 2009 DECLARATION This Thesis is my original work and has not been presented for a degree in any other university. MICHAEL OYOO WECHE SIGNATURE _______________________________________ DATE _______________________________________ Town Cape This Thesis has been submitted with myof approval as University Supervisor. DR. ABNER NYAMENDE SIGNATURE ____________________________________ DATE ____________________________________ University ii DEDICATION This Thesis is dedicated to my beloved daughters, Fatma Tatyana Akinyi (Titi) and Daniela Benta Atieno (Dani) and all children of the world. Town Cape of University iii ACKNOWLEDGEMENT I am immensely indebted to The Catholic University of Eastern Africa, for offering me a Staff Development Scholarship to pursue my doctorate studies. My earnest gratitude goes to my supervisor, Dr. Abner Nyamende with whom I worked to see this study through. I cannot forget his friendly and invaluable advice and concern that fired me up to work harder and finish on time. Of special mention is my former Head of Department at The Catholic University of Eastern Africa, Ms. Alice Kiai, a great leader whose professional and academic approach in her relationship with colleagues gave me the peace of mind needed for serious academic pursuits. Town Special thanks go to my colleagues in theCape Department of English at The Catholic University of Eastern Africa, Ms. Sellineof Oketch, Mr. Peter Mbugua and Dr. Simon Peter Otieno for their special encouragement and cooperation. Lastly may I acknowledge the crucial role my two daughters, Titi and Dani, together with my wife Lilian Anyango played for being there for me during the research and writing time. And foremost,University thanks be to God, “Obong’o Nyakalanga” whose blessings and care have carried me this far. iv ABSTRACT This study is based on the premise that Luo and Luhya children’s singing games are creative works that subtly reflect the aesthetics of the two communities. The aim is to critically examine how the performance of the singing games and their texts reflect the aspirations, norms and values of the macro cultures of the two Nilotic and Bantu communities respectively. The sampled singing games include those done in the traditional setting, sung in vernacular and those that are taken from the urban or cosmopolitanTown settings. Our findings reveal that Luo and Luhya children’s singing games are a significant resource in communicating the values of the two communities.Cape of Luo and Luhya children imitate their physical and social environments and dramatize about the aesthetics of the communities. This dramatization reflects both traditional values and the new emerging values that have been necessitated by the introduction of western values, formal education, Christianity and others. University In these singing games Luo and Luhya children are able to socialize, learn and also uphold the values of unity and respect for one another. The singing games are significant in the learning process and character development of the children involved in the performance. v Luo and Luhya children’s singing games play a significant role in socializing the children in their different societies. The socialization makes the child to be rooted in the aesthetics and aspirations of his/her society. Urban children’s singing games that are sung by Luhya and Luo children reflect the child’s creativity, improvisation and the ability to borrow from various sources. The singing games utilize various sources, including the electronic media, print media and also rhymes from other cultures. Children’s singing games are repertoires of a people’s aesthetics.Town Apart from directly teaching the participants cultural issues and requirements, the singing games are crucial to the participants’ social and moral development.Cape of Luo and Luhya children’s singing games reflect the macro culture of the Luo and Luhya communities respectively and to a great extent the changing values in the Kenyan society. The study also gives some insights arising from the findings that can be of benefit to future researchers.University There is need for researchers to focus on children’s singing games as creative works and discover their role in the social and moral development of the child and also find out how these creative works can be used in an educational set up. vi TABLE OF CONTENTS Page DECLARATION………………………………………..……………………………ii DEDICATION………………………………………………………………….……iii ACKNOWLEGDEMENT……………………………………………………...…....iv ABSTRACT………………………………………………………………….…..……v TABLE OF CONTENTS……………………………………………………….……vii CHAPTER ONE INTRODUCTION TO THE STUDY Town 1.1 The Luo and Luhya of Kenya……………………………………………… 1 1.2 Background to the Study……………………………………………...…… 5 1.3 Definition of Key Terms……………………………………………………Cape 9 1.4 Statement of the Problem…………………………………………………...of 10 1.5 Justification of the Study…………………………………………………... 12 1.6 Objectives of the Study…………………………………………………….. 14 1.7 Assumptions of the Study………………………………………………….. 15 1.8 TheoreticalUniversity Framework…………………………………………………….. 15 1.9 Literature Review……………………………………….………………….. 21 1.10 Scope and Limitations……………………………………………………… 33 1.11 Methodology……………………………………………………………….. 36 1.12 Organization of the Thesis………………………….……………………… 40 vii CHAPTER TWO AESTHETIC VALUE COMMUNICATION IN LUO AND LUHYA CHILDREN’S SINGING GAMES 2.1 Luhya Children’s Singing Games……………………………….……….......42 2.1.1 Luhya Children’s Singing Games and the Environment………….…………42 2.1.2 Luhya Children’s Singing Games and the Kinship System………….………49 2.1.3 Luhya Children’s Singing Games and the Values of Friendship and Unity…………………………………………………………………… 56 2.1.4 Luhya Children’s Singing Games and Gender Roles……………………… 63 2.1.5 Luhya Children’s Singing Games on Other Themes and Issues…...………. 69 2.2 Luo Children’s Singing Games…………………………………….……….Town 70 2.2.1 Luo Children’s Singing Games on the Value of Hard work………………... 71 Cape 2.2.2 Luo Children’s Singing Games ofand the Imitation of the Surrounding……………………………………………………………….....76 2.2.3 Luo Children’s Singing Games on the Significance of Traditional Foods…………………………………………………………... 84 2.2.4 Luo Children’s Singing Games on the Values of Friendship and TraditionalUniversity Roles…………………………………………………………… 87 2.3 Other Issues in Luo and Luhya Children’s Singing Games……………….. 95 CHAPTER THREE STYLE AND AESTHETIC COMMUNICATION IN LUHYA AND LUO CHILDREN’S SINGING GAMES 3.1 Introduction………………………………………………………………… 100 viii 3.2 Descriptive Features in Luo and Luhya Children’s Singing Games and their Value Communication……………………………………………………... 101 3.3 Performance Style and Its Aesthetic Communication in Luo and Luhya Children’s Singing Games…………………………………………………. 128 CHAPTER FOUR CHANGING VALUES AND TRENDS IN LUO AND LUHYA CHILDREN’S SINGING GAMES 4.1 Introduction………………………………………………………………… 155 4.2 Changing Values in Luo Children’s Singing Games………………………. 157 4.2.1 Luo Children’s Singing Games and Social Changes……………………….Town 157 4.2.2 Luo Children’s Singing Games on the Value of Formal Education……….. 176 4.3 Changing Trends and Values in Luhya Children’s Singing Games……………………………………………………………...Cape 180 4.3.1 Luhya Children’s Singing Gamesof and Changing Socio-Economic Values.............................................................................................................181 4.4 Luo and Luhya Urban Children’s Singing Games and their Aesthetic Value…………………………………………………………….187 CHAPTER FIVEUniversity SUMMARY, CONCLUSIONS AND RECOMMENDATIONS 5.1 Summary and Conclusions………………………………………………… 216 5.2 Recommendations for Further Studies ……………………………………….226 BIBLIOGRAPHY………………………………………………………………… 229 APPENDIX I………………………………………………………………………. 239 APPENDIX II……………………………………………………………………… 270 ix Town APPENDIX III……………………………………………………….…………….. 301 Cape of University x CHAPTER ONE INTRODUCTION TO THE STUDY 1.1 The Luo and Luhya of Kenya The Luo people of Kenya are called Joluo and the language they speak is Dholuo. The Luo of Kenya are Nilotes because they are speakers of the Nilo-Saharan group of languages. They belong to a family of ethnolinguistically affiliated groups; a branch of the Nilo-Saharan language family. They are sometimes referred to as River-Lake Nilotes or Western Nilotes. Town According to Roscoe and Ogutu (1974:10) “Luo” is related to the word “luwo” (to follow). Historically the Luo are said to have followed the River Nile in search of pasture and eventually settled in the areas they currentlyCape occupy. of The Luo of Kenya settled in the western part of Kenya in the present Migori, Homabay, Kisumu, Bondo, Rachuonyo, Nyando and Siaya Districts. The Luo of Kenya are a Nilotic group related to the Acholi and Jo-Padhola of Uganda and also the Shilluk, Aruak and Dinka of SudanUniversity (Miruka, 2001:1). Ogot (1974) reports that the first group of Luo speakers to arrive in Kenya were Joka-jok, “the people of god” who migrated from the Tekidi settlement because of a major conflict.