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Kaya Hip-Hop in Coastal Kenya: the Urban Poetry of UKOO FLANI
Page 1 of 46 Kaya Hip-Hop in Coastal Kenya: The Urban Poetry of UKOO FLANI By: Divinity LaShelle Barkley [email protected] Academic Director: Athman Lali Omar I.S.P. Advisor: Professor Mohamed Abdulaziz S.I.T. Kenya, Fall 2007 Coastal Cultures & Swahili Studies Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 2 of 46 Table of Contents Acknowledgements………………………………………..………………….page 3 Abstract……………………………………………..…………………………page 4 Introduction…………………………………..……………………………pages 5-8 Hip-Hop & Kenyan Youth Culture Research Problem Status of Hip-Hop in Kenya Hypotheses The Setting……………………………….………………………………pages 9-10 Methodology: Data Collection……………………………………..…pages 10-12 Biases and Assumptions………………………..………...…………...pages 13-14 Discussion & Analysis…………………………………………………pages 14-38 Ukoo Flani ni nani? Kaya Hip-Hop Traditional Role of Music in African Culture Genesis of Rap/Hip-hop in American Ghettoes The Ties That Bind Kenyan Radio The Maskani Ghetto Life Will the real Ukoo Flani please stand up? Urban Poetry: Analyzing Ukoo Flani’s Lyrics Conclusion…………………………..……………………….…………pages 38-42 Conclusion Part I: The Future of Ukoo Flani Conclusion Part II: Hypotheses Results Conclusion Part III: Recommendations for Future SIT Students Bibliography………………………………………………..…………..pages 43-44 Interview/Meeting Schedule………………………………………………page 45 ISP Review Sheet…………….……………………………………….……page 46 Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 3 of 46 Acknowledgements First and foremost, I would like to thank the entire Ukoo Flani crew for their contributions to my project. I am fascinated by your amazing talent and dedication to making positive music to inspire future generations. I am amazed at what you have been able to accomplish despite limited access to resources. -
Gender Dimensions in Emerging African Music Genres: a Case of Kenyan Local Hip Hop
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 5, Ser. 9 (May. 2019) 54-61 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Dimensions in Emerging African Music Genres: A Case of Kenyan Local Hip Hop Pamela N.Wanjala Shamberere Technical Training Institute P.o Box 1316, Kakamega, Kenya Abstract: The question of gender bias is now seen as a major challenge in almost every discipline that deals with human behavior, cognition, institutions, society and culture. Therefore, this paper was an attempt to investigate gender dimensions in the emerging African genres; a case study of local hip hop songs in Kenya. It discussed the extent to which hip hop language is gender biased. It focused on the popular local hip hop songs and video images that occur with the songs. The study used the Social Semiotic Theory in the theoretical framework. Ten hip hop songs and ten video excerpts were purposively selected for analysis. The hip hop songs were coded according to the name of the artist and year of production. The data was analyzed under three sections: Linguistic analysis, Image analysis and Gender analysis. The study revealed that indeed there is gender bias in the language of the favourite youth culture. This was revealed in the lexis that distinguishes gender, in the syntactic analysis and also in the image analysis. It was found that in hip hop music, men tend to be regarded higher in terms of roles, occupation and general human traits like strength and control than women. The study therefore recommends that radio and television stations, and other advertising agencies should join the battle for women liberation by using gender sensitive language and focusing on positive and constructive societal changes in terms of gender roles. -
'Survival of 'Radio Culture'
Coventry University Coventry University Repository for the Virtual Environment (CURVE) Author name: Mudhai, O.F. Title: Survival of ‘radio culture’ in a converged networked new media environment. Article & version: Post-print Original citation & hyperlink: Mudhai, O.F. (2011) 'Survival of ‘radio culture’ in a converged networked new media environment' in Popular Media, Democracy and Development in Africa. ed. Herman Wasserman. London: Routledge: 253-268 http://www.routledge.com/books/details/9780415577946 Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. This document is the author’s final manuscript version of the journal article, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it. Available in the CURVE Research Collection: October 2011 http://curve.coventry.ac.uk/open Survival of ‘radio culture’ in a converged networked new media environment* Okoth Fred Mudhai ([email protected]) Coventry University Introduction With emphasis on popular music and related entertainment rather than democratic culture and identity politics, this chapter examines the extent to which radio remains significant in socio-cultural and political landscapes in Africa given the proliferation of newer information and communication technologies (ICTs) more recently enlivened by cell phones and social networking applications. -
Sponsorship Package / Media
WHAT IS AFRIMMA? (AFRIMMA) is the sole award ceremony in the Diaspora that caters to all musical genres including but not limited to: Afrobeats, Assiko, Bongo, Decale, Funana, Genge, Highlife, Hiplife, Kwaito, Lingala and Soukous. In its 7 years of existence, AFRIMMA has been an instrumental force that has aided in the crossover and commercial recognition that African music, specifically afrobeats, receives today. PAST HOSTS VINIE CHIPUKEEZY CYNTHIA BAI LEY Comedian Model, Actress, 1.4 million followers Reality TV Star 3 million followers JULIET IBRAHIM POIZON IVY THE DJ Internationally Dallas Maverick's DJ| acclaimed actress K104 FM On-Air Personality 6.2 million followers 40k followers BASKETMOUTH ANNE KANSI IME World Renowned Comedian 7 million followers Africa's Queen of Comedy 580k followers PAST PERFOMERS Davido Akothee Diamond Platnumz Nigeria Kenya Tanzania 17 million followers 2 million followers 10 million followers T-Pain Fally Ipupa Sauti Sol U.S.A Congo Kenya 2.3 million followers 3 million followers 1.9 million followers Ibtissam Tiskat A.K.A Flavour Morocco South Africa Nigeria 5 million followers 2.8 million followers 4.4 million followers THE AFRIMMA FASHION SHOW (AFS) has become a staple in the City of Dallas, making it home to unique designers who infuse fashion and culture. The event features some of the world’s greatest and most sought after designers such as South African designer, George Malelu, who made Beyoncé’s outfit for the Global Citizen Festival: Mandela 100 concert. AFRIMMA Fashion show has also partnered with South African fashion designer, David Tlale, whose work has been featured at the Cape Town Fashion Week, New York Fashion Week, and Paris Fashion Week. -
Trace Mziki Celebrates African Greatest Music Talents at Afrimma Awards 2017
PRESS RELEASE NAIROBI, SEPT. 28 2017 TRACE MZIKI CELEBRATES AFRICAN GREATEST MUSIC TALENTS AT AFRIMMA AWARDS 2017 TRACE MZIKI, the channel dedicated to Swahili, Eastern and Pan African music is supporting the 4th annual AFRIMMA Awards and Music Festival 2017 in Dallas (TX) on Sunday October 8th. Since 2014, AFRIMMA awards and celebrates new talents from Africa and the African diaspora. As the first ceremony outside Africa showcasing Afrobeats, Assiko, Bongo, Coupé Decalé, Funana, Genge, Highlife, Hiplife, Kwaito or Soukous, AFRIMMA will be co-hosted for the first time by Kenyan stand up comedian Chipukeezy, alongside Nigerian comedian Basketmouth. This year, AFRIMMA promises a bigger show. The event will offer a music festival experience with headlines such as Tanzania sensation Diamond Platnumz as well as Uganda’s Triplets Ghetto Kids who were featured in French Montana’s “Unforgettable” music video. Other headline acts confirmed to attend are Fally Ipupa, C4 Pedro, Eddy Kenzo and Tiwa Savage. This year’s events include a Pre-Show with London band The Compozers, a Pre-Party, a Pool Party, A Music Panel, Fashion Show, as well as a grand After Party after the main show to close AFRIMMA 2017. Two new categories have also been added to the 2017 edition of AFRIMMA : Best Lusophone artist and Best Francophone artist. Anderson Obiagwu, CEO of AFRIMMA/BIG A declares, “TRACE has been a proud supporter of African music and important matters and causes in Africa. AFRIMMA is delighted to partner with TRACE in a synergy of brands synonymous to African music. It’s all about Africa as Africa’s biggest music award ceremony and Africa’s biggest music TV group brings you an unforgettable AFRIMMA experience.” Launched in 2016, TRACE Mziki with its presence at AFRIMMA allows TRACE group to continue to dedicate their love and support to African artists, whether they are newcomers or internationally acclaimed. -
Trace Mziki, the Tv Channel Dedicated to Urban Music from Eastern Africa Launched in French-Speaking Africa with Canal + Afrique!
PRESS RELEASE NAIROBI, 27TH MARCH 2017 TRACE MZIKI, THE TV CHANNEL DEDICATED TO URBAN MUSIC FROM EASTERN AFRICA LAUNCHED IN FRENCH-SPEAKING AFRICA WITH CANAL + AFRIQUE! TRACE Mziki is now available in the Evasion bundle of Canal+ Afrique offer via satellite (channel 131), and will soon be launched in Easy TV DTT offer in the Democratic Republic of Congo. TRACE Mziki is the #1 channel for all Eastern Africa music lovers. With an eclectic choice of music genre from Afro Fusion, Genge Music to Bongo Flava as well as local Hip Hop and Dancehall, this channel curates the best afro-urban hits coming from Kenya, Tanzania, Zambia, Uganda and Rwanda. It showcases artists like Venessa Mdee, Ommy Dimpoz and Sauti Sol. Launched in September 2016 in both Swahili and English, TRACE Mziki quickly settled as the reference channel from Eastern African music in the main television paying offers in Eastern and central Africa: DSTV, Canal+, Zuku and Kwesé. TRACE Mziki’s motto, “ Twapenda Mizki Chem Chem ” means “ We love hot and steamy music ” in Swahili. This Eastern African language is spoken by more than 200 million people in the world. Olivier Laouchez, Cofounder, Chairman and and CEO of TRACE declares: « For the last 14 years, TRACE has continuously shown its passion and commitment for urban, African and Caribbean music. With TRACE Mziki, we are proud to display the Swahili language and talented artists who make East Africa dance. The arrival of TRACE Mziki on Canal+ in French-speaking Africa shows once again that music has no borders. » ABOUT TRACE Launched in 2003 by Olivier Laouchez, TRACE is a multimedia group and brand dedicated to afro-urban entertainment. -
17 Verbal Fluidities and Masculine Anxieties of the Glocal Urban
17 Verbal Fluidities and Masculine Anxieties of the Glocal Urban Imaginary in Kenyan Genge Rap1 Chris Wasike Masinde Muliro University of Science and Technology This chapter tracks the emergence of a rap genre dubbed ‘genge’ rendered in sheng- an urban slang which is a mixture of Swahili, English and other local dialects. Positioning genge within the milieu of cultural expressions that give voice to marginalized urban youths, the article examines how several genge rappers appropriate urban spaces, delineate them as sites of masculine domination, contestation and urban cosmopolitanism within the larger glocal imaginary desires. The analysis uses lyrics of songs by Jua Cali, Nonini and others, to illustrate how their deployment of poetic lyricism romanticizes the Nairobi city spaces as melting pots of masculine fears, tensions and anxieties. Key words: genge rap, urban slang, identity, masculine domination, cosmopolitanism, Nairobi Introduction: Popular Culture in the Kenya Context Riding on the crest of his recent crown as the ‘undisputed king’ of genge, Jua Cali (real name Peter Anunda) is one of Kenya’s foremost artistes in the now popular, rapid genre of hard core rap. His lyrical personality and the genre of music he produces have continued to endear him to party-loving youths and a huge chunk of young adults. In this essay, I argue that Jua Cali’s genge rap style is not just fluid but is inundated with discourses of ur- ban masculinities and anxieties of the glocal urban imaginaries. In addition, the style and thematic preoccupation in his songs appears to be subtended by desires of the American dream which situates this localized version of hard core rap within the binarity of local and global, or simply glocal. -
Upcoming-Mag-4
---- Do forget to share with all your whatsapp contacts. For more info: 074 902 3257 All about Up comers May 1, 2019 [UPCOMING MAG MAY ISSUE , Cover: Biographies Page 4 - 13 The Story behind the song: Black Maipatie Page 14 Interviews Page 17 - 20 As fans Demanded: Hustla Reubz Page 23 Freelance Models Page 25 - 26 Our Viewer’s Choice Asemahle Myezo Page 27 Identity Theft Page 34 Features: Beat makers: Page 3 Productions. Page 15 Studios. Page 16 Songwriters Page 30 African Beauty Page 26 Poetrty Page 31 Events Page 35 - 53 Black Clique Musiq Entertainment Page 21 - 22 Top 30 Upcoming Soundcloud Charts Page 47 Advertisements Don’t forget to share with all your whatsapp contacts Page 1 May 1, 2019 [UPCOMING MAG MAY ISSUE , I am sorry to announce that Lauren has personal problems therefore she could not Edited this issue sorry for the inconvenience I am still working alone, I am not sure if she will have her things sorted to edit our issue this month, but anyone who would like to be part of team Upcoming Mag please contact me on 0749023257. Today Jozi of CJM9 asked me who do I work with on Upcoming Mag my answer was I work alone but that is not the truth, I work with up comers: models, artists, dancers, producers, actors/actresses, etc, that is why Upcoming mag is such a success on that note I would like to thank everyone working with me, some of the ideas we get from you guys, therefore thank you. I would like to thank all our viewers who take their time going through Upcoming Mag Reading everything, thank you. -
The Influence of Kenyan Christian Hip Hop Music
INVESTIGATING YOUTH AND LANGUAGE USE: THE INFLUENCE OF KENYAN CHRISTIAN HIP HOP MUSIC MALESI, BEVERLY SHISIALI A THESIS SUBMITTED IN THE DEPARTMENT OF LUNGUISTICS AND LANGUAGES IN PARTIAL FULFILLMENT OF REQUIREMENTS FOR THE AWARD OF THE DEGREE OF MASTER OF ARTS IN LINGUISTCS, UNIVERSTIY OF NAIROBI 2014 i DECLARATION This thesis is my original work and has not been presented in any other University. MALESI BEVERLY SHISIALI C50/71841/2011 Sign: ...................................... Date: .............................................................. This thesis has been presented for examination with my approval as the candidate' Supervisor. Dr. Olali T. Sign: ...................................... Date: ............................................................. Mr. Atoh, F.O. Sign: ...................................... Date: ............................................................. ii DEDICATION To: My husband Benjamin Masaai for his love, tolerance, support willingness to offer help emotionally during the entire, academic period And my three little jewels: Neville, Wisdom and Prince, for their tolerance, consolation and inspiration. iii ACKNOWLEDGEMENTS I owe the Almighty God my greatest intellectual debt for his protection and abundant grace. From a distance, he has been watching over my academic steps to this level. My profound gratitude goes to my Supervisors, Dr. Tom Olali and Mr. Atoh F. O. Thank you for your scholarly and professional guidance in this project. You remained generous enough to read and comment on my work by offering brilliant ideas. I have benefited greatly from all members of the Linguistics Department whose professional advice saw me through the MA program. To Prof. Okoth Okombo, Prof. Lucia Omondi, Dr. Ayub Mukhwana. Dr. Lilian Kaviti, Dr. Jane Oduor, Dr. Michira Nyachae and Mr. G. B. Mungania, I say "God bless you abundantly, for your academic blessings". -
Kenyan Hip-Hop Artists' Theories of Multilingualism, Identity And
“HATUCHEKI NA WATU”: KENYAN HIP-HOP ARTISTS’ THEORIES OF MULTILINGUALISM, IDENTITY AND DECOLONIALITY By Esther Milu A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Rhetoric and Writing - Doctor of Philosophy 2016 ABSTRACT “HATUCHEKI NA WATU”: KENYAN HIP-HOP ARTISTS’ THEORIES OF MULTILINGUALISM, IDENTITY AND DECOLONIALITY By Esther Milu This is a qualitative research study that constellates several theoretical and methodological approaches to understand why and how three Kenyan Hip-hop artists, Jua Cali, Nazizi Hirji and Abbas Kubbaff, engage in translingual communicative practices. A variety of data types including in-depth phenomenologial interviews, lyrical content and multimodal compositions were evaluated to understand how and why the artists used particular linguistic and semiotic resources in composing their texts and in their everyday communication. A translingual analytical framework was applied to examine these resources across various modalities of communication: verbal, written, audio, visual, performative and embodied. Findings from the study indicate that the artists translingual practices are aimed at : 1) constructing various ethnicities and indentities based on their everyday language use and not on dominant language ideologies or theories of race and ethnicity in the country; 2) engaging in language activism work by raising critical language awareness within dominant institutions, and by actively participating in the preservation of youth languages and cultures; 3) theozing and practicing diverse options for cultural and linguistic decolonization. The study concludes by proposing a translingual pedagogy that challenges students to demonstrate critical awareness of the “linguistic culture” surrounding the languages, codes and symbolic practices they use in their translingual composing. -
Jogoo La Shambani Haliwiki Mjini: the Village and the Town in the Mũgithi and One-Man Guitar Performances in Kenya Maina Wa Mũtonya (1-16)
African Studies Quarterly Volume 14, Issue 4 September 2014 Published by the Center for African Studies, University of Florida ISSN: 2152-2448 African Studies Quarterly Executive Staff R. Hunt Davis, Jr. - Editor-in-Chief Todd H. Leedy - Associate Editor Emily Hauser and Anna Mwaba - Managing Editors Jessica Horwood - Book Review Editor Editorial Committee Oumar Ba Meghan Kirkwood Maia Bass Nicholas Knowlton Lina Benabdallah Chesney McOmber Mamadou Bodian Asmeret G. Mehari Jennifer Boylan Jessica Morey Renee Bullock McKenzie Moon Ryan Erin Bunting Stuart Mueller Ben Burgen Anna Mwaba Leandra Clough Moise C. Ngwa Nicole C. D'Errico Collins R. Nunyonameh Amanda Edgell Winifred Pankani-Lindberg Dan Eizenga Sam Schramski Timothy Fullman Caroline Staub Ramin Gillett Abiyot Seifu Ryan Good Rebecca Steiner Victoria Gorham Donald Underwood Cari Beth Head Carrie Vath Ibrahim Yahaya Ibrahim Sheldon Wardwell Merise Jalalal Joel O. Wao Aaron King Amanda Weibel Advisory Board Adélékè Adéèko Mark Davidheiser Ohio State University Nova Southeastern University Timothy Ajani Kristin Davis Fayetteville State University International Food Policy Research Abubakar Alhassan Institute Bayero University Parakh Hoon John W. Arthur Virginia Tech University of South Florida, St. Andrew Lepp Petersburg Kent State University Nanette Barkey Richard Marcus Plan International USA California State University, Long Beach Susan Cooksey Kelli Moore University of Florida James Madison University Mantoa Rose Motinyane African Studies Quarterly | Volume 14, Issue 4| September -
Open My Dissertation.Pdf
The Pennsylvania State University The Graduate School College of the Liberal Arts FROM TRICKSTER TO BADMAN TO “GANGSTA”: GLOBALIZING THE BADMAN MYTHOFORM IN HIP-HOP MUSIC A Dissertation in Comparative Literature by Mich Yonah Nyawalo © 2012 Mich Yonah Nyawalo Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2012 The dissertation of Mich Nyawalo was reviewed and approved* by the following: Thomas A. Hale Edwin Erle Sparks Professor of African, French, and Comparative Literature Dissertation Adviser Chair of Committee Sophia A. McClennen Professor of Comparative Literature, Spanish and Women’s Studies Jonathan P. Eburne Associate Professor of Comparative Literature and English Jennifer Boittin Associate Professor of French, Francophone Studies, and History Gabeba Baderoon Associate Professor of Women’s Studies and African Studies Aaron L. Rosenberg Research Professor Centro de Estudios de Asia y África El Colegio de México Special Member Caroline D. Eckhardt Professor of Comparative Literature and English Head of the Department of Comparative Literature *Signatures are on file in the Graduate School. ii Abstract While a vast amount of hip-hop scholarship has focused on the proliferation of rap music within contemporary national contexts, little research has been conducted on the ways in which rappers have capitalized transnationally on each other’s national histories and folklore in their music. As a counterpoint to this dominating presentism in current hip-hop scholarship, my project analyzes how the mythological figures of the trickster and the badman, key characters in numerous African-American traditional narratives, have dramatically influenced the modes through which authenticity and notions of communal agency have shaped hip-hop in the United States, France, and Kenya.