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The Influence of Kenyan Christian Hip Hop Music

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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". Above all, I wish to express my sincere gratitude to my dear parents, Mr. and Mrs. Shisiali; thank you for your ceaseless prayers. My big sisters: Christabel and Taphon, your constant love and support has been a shield during this time. My cousin brother James, God blesses you abundantly. My husband Ben has given me the peace and security to think and write. To my little angels, Neville, Wisdom and Prince, thank you for your inspiration. iv TABLE OF CONTENTS DECLARATION............................................................................................................... ii DEDICATION.................................................................................................................. iii ACKNOWLEDGEMENTS ............................................................................................ iv TABLE OF CONTENTS ................................................................................................. v ABSTRACT ...................................................................................................................... ix CHAPTER ONE ............................................................................................................... 1 INTRODUCTION............................................................................................................. 1 1.1 Background of the study ............................................................................................... 3 1.2 Statement of the problem .............................................................................................. 5 1.3 Research questions ........................................................................................................ 6 1.4 Research objectives ....................................................................................................... 7 1.5 Hypotheses .................................................................................................................... 7 1.6 Rationale and justification of the study ........................................................................ 8 1.7 Scope and limitation ..................................................................................................... 9 1.8 Theoretical framework ................................................................................................ 10 1.8.1 Models tenets ................................................................................................. 15 1.8.1.1 Inter personal inter- group continuum ......................................................... 15 1.8.1.2 Positive distinctiveness ................................................................................ 16 1.8.1.3 In group favoritism ...................................................................................... 17 1.9. Literature Review. ...................................................................................................... 18 1.9.1 Literature on contemporary gospel music. ...................................................... 18 1.9.2. Literature on Kenyan hip hop music. ............................................................. 20 1.9.3. Literature on Christian hip hop music. .......................................................... 21 1.10 Research methodology .............................................................................................. 24 1.10.1 Data collection .............................................................................................. 24 1.10.2 Primary data .................................................................................................. 25 1.10.3 Sampling techniques and methodology ........................................................ 26 1.10.4 Data analysis ................................................................................................. 26 v CHAPTER TWO ............................................................................................................ 27 INTRODUCTION........................................................................................................... 27 2.1. Use of language patterns as markers of social /cultural identity ............................... 27 2.1.1. Code switching ............................................................................................... 27 2.1.1.1 Code Switching As a Marker of Social/Cultural Identity ............................ 29 2.1.2. Rap ................................................................................................................. 32 2.1.3. Symbolism ..................................................................................................... 36 2.1.4. Use of rhyme .................................................................................................. 37 2.1.4.1 Use of rhyme as a marker of social identity ................................................ 38 2.1.5. Use of slang/Kenyan English ......................................................................... 41 2.1.5.1 Sheng as a marker of social identity ............................................................ 44 2.1.6. Use of vernacular languages for identity ....................................................... 45 2.1.7. Use of exaggerations ...................................................................................... 45 2.2 Conclusion .................................................................................................................. 46 CHAPTER THREE ........................................................................................................ 48 THE INFLUENCE OF HIP HOP LANGUAGE ON THE MESSAGE IN KENYAN CHRISTIAN HIP HOP LYRICS. ................................................................................. 48 3.1 Introduction ................................................................................................................. 48 3.1.1 The hip hop language ...................................................................................... 49 3.2. The meeting point: secular hip hop versus Kenyan Christian hip hop ...................... 50 3.2.1. Common themes. ........................................................................................... 50 3.2.2. Hip hop culture .............................................................................................. 51 3.2.3. Common target audience. .............................................................................. 51 3.3 Language use in Kenyan Christian hip hop lyrics Versus the Hymnals. .................... 53 3.4 General Overview ....................................................................................................... 61 3.5 Conclusion .................................................................................................................. 64 vi CHAPTER FOUR ........................................................................................................... 65 DATA ANALYSIS FINDINGS AND DISCUSSIONS ................................................ 65 4.1. Introduction ................................................................................................................ 65 4.2 The language scenario of a church service in a selected school. ................................ 65 4.3 Findings from a modern church in Kenya .................................................................. 67 4.4 Influence of Hip hop music on the Christian Youth in Mavuno church ..................... 68 4.5 Effects of baring gospel hip hop music in the church ................................................. 71 4.6 conclusion ..................................................................................................................
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