PHD-Department of Theatre Arts and Film Technology

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Use of drama therapy in unlocking the voices of survivors of Female Genital Mutilation among the Kenyan Maasai
(2014) Okoth, Zippora Agatha
This study investigates the utilization of drama therapy to unlock voices of survivors of Female Genital Mutilation. The study proceeds from the assumption that drama therapy is a useful tool not only to reach out to the survivors but also as an avenue for enhancing their self expression. In this regard, drama therapy helped in enhancing the survivors‘ self expression skills in their quest to recollect their lives and pursuit of their life dreams and goals while at the same time living in harmony with the community. While using various drama therapy techniques such as story-telling, poetry, role playing, song and dance, this study examines and shows how drama therapy can be used as an effective tool in unlocking the voices of survivors of Female Genital Mutilation. The study employed Nietzsche‘s Will to Power theory and Rogerian theory of self in showing how drama therapy can be used to unlock voices of FGM survivors. Nietzsche‘s Will to Power theory was used to explore underlying motives behind the survivors‘ rebellion against Female Genital Mutilation whereas Rogerian theory of Self was used in exploring the survivors‘ freedom, choices and personal responsibilities, particularly after surviving Female Genital Mutilation. The study utilized control-group as its research design while it engaged in-depth interviews, questionnaires, focus group discussions and participatory theatre to obtain data for analysis. The data collected was analysed both qualitatively and quantitatively. Findings from the study show that drama therapy as a tool for unlocking the voices of FGM survivors creates a safe and playful environment where the survivors are able to act out their anxieties, fears and mental conflicts due to FGM trauma. In this way, the survivors‘ emotions were not only evoked but drama therapy provided a platform on which their anxieties and fears were expressed and at same time, the stigma related to FGM emotions expelled. In an unconditional atmosphere, drama therapy helped the survivors to regain their self-confidence, self-esteem and build trust plus teamwork through the performances. Finally, through the use of drama therapy techniques such as improvisation and role play, the participants gained new and valuable perspectives in their lives and in the process were able to freely forgive those who had wronged them, by coercing, forcing or abusing them, before and after undergoing FGM.
Style and content in selected Kenyan message films 1980 to 2009
(2014-04-14) Diang'a, Rachael; Imbuga, F.; Mugubi, J.
This study analyses style and content in Kenyan message films produced between 1980and 2009. Anchored on the principles of Formalist, Auteurist, Postcolonial and ViewerResponse theories, it narrows down to four films sampled through stratified random sampling. These are Sao Gamba's Kolormask (1986), Anne Mungai's Saikati (1992), Robby Bresson and Kimani Mburu's Pieces for Peace (2008) and Njoki Mbuthia and Mona Ombogo-Scot's Unseen, Unsung, Unforgotten (2009). The study draws from Postcolonial discourse to discuss the three possible initiators of message filmmaking in Kenya. It applies the Auteurist belief that the director is responsible for all the artistic and technical choices made during a film's production. The study, however, dismisses as fallacious notion that having made the stylistic choices, the director can package meaning as he desires and pass it on to the audience. Thus; this research invokes the precepts of Viewer Response theory, acknowledging a viewer's role in the process of meaning generation. Subsequently, the study goes ahead to examine the application of individual film elements in each of the sampled films. This study contributes to the growth of the rather young Kenyan film industry by emphasizing the importance of both style and content in message filmmaking. Its findings will be useful to film policy makers, researchers and funding organizations with an interest in Kenyan film. Being a qualitative study, the research methods applied during data collection and analysis were those that could elicit the respondents' opinions about the topics of discussion. Primary data was therefore collected through focus group discussions with thirteen film critics, in-depth interviews consisting of open-ended questions as well as free observation. Two data collection instruments were used during data collection: Interview guides were used during the in-depth interviews and FGDs while observation guides directed the researcher as she observed the films. Secondary data came from literature and documentary films on the relevant topics of concern for each chapter. The study objectives were met and the study concludes that all the four films pass across certain social concerns. The films' directors attempt to coat these messages with appealing stylistic manipulations – both technical and aesthetic. Nonetheless, hindrances such as time of a film's production, filming and processing equipment used, finances and director's creative oversights still mar most of these films.
Use of psychodraivatic role-playing communication in HIV/AIDS among the youth in Msambweni, Kwale county, Kenya
(2014-07-24) Omuyoma, Oliver Mbayi; Mugubi, J.; Wafula, R. M.
Effective HIV/AIDS communication remains central in controlling and preventing its spread because of absence of cure and vaccination against the disease. This study therefore seeks to explore psychodramatic role-playing in HIV/AIDS communication among the youth in Msambweni, Kwale County. Using psychodramatic theory of roles and health belief model theory, the study intends to explore psychodramatic role-playing in enhancing perceptions about HIV health threat and health behaviours. Psychodramatic role-playing is proposed to predict a variety of outcomes including improved insights and self-awareness, social skills and therapy. This qualitative study will adopt a case study design to explore HIV/AIDS communication through psychodrama process. Using purposive sampling, three wards will be selected in Msambweni sub-county. A total sample of 43 which constitute 29.25% of the total population of Lamukani CBO will be drawn. The male and female representation will be 24 and 19 respectively. The study will consist of participant observations and participant focus group discussions (entrenched in psychodrama process). Common themes will be analyzed using factor analysis and discriminant analysis to assess the variables associated with effective HIV/AIDS communication. The findings are expected to make a positive contribution to HIVIAIDS communication programs
Transformative Conflict Resolution Using Forum Theatre: The Jos North, Nigeria Flash Point Paradigm
(Kenyatta University, 2016-04) Nyam, Esther Akumbo; John Mugabi; Oluoch Obura
Violent conflict in Jos North, Plateau State, Nigeria, like other parts of the world, has become a serious concern creating a rift in human relations. This study therefore seeks to explore, in Theatre for Development (TFD), the techniques of Boal’s Forum Theatre (FT) in bringing about peaceful resolution in Jos, Plateau State. The study explores the philosophical thrust of forum theatre to improve on the existing process of utilizing the challenges and strategies of FT for sustainable results. FT has today continued to interrogate several ways of resolving such issues and identifying ways of intervention and stoppage of further escalation of the violent conflict in the city of Jos. The study explores the assumption of Boal’s Forum Theatre technique in FT as appropriate instrument of transformation and change. This theatrical and drama process in FT was perceived relevant in resolving the Jos violence. TFD was used effectively in an attempt to bring about transformation, conscientization and social change. The theoretical and conceptual framework is based on the assumptions that the study was appropriate in resolving the Jos violent conflict. The study adopted a case study design to explore new ways of repositioning the practice of FT. Using triangulation, three locations in Jos, Plateau State Nigeria were selected and 110 participants were randomly selected across the sample population to take part in this qualitative study. This study involved Focus Group Discussions (FGDs), Semi Structured Interviews (SSIs), questionnaire administration, Participant observation approach which were employed to access FT methods as an effective medium for transformation and change. The findings show that FT activities employed in the study area for addressing violent conflicts include: drama, songs, music, peace rally and children’s theatre. However, inadequate monitoring and evaluation by practitioners, funding, advocacy and community involvement were found to be the challenges. As a means of mitigating the challenges, the study found that peace building, public enlightenment and advocacy, intensifying security, addressing segregated settlements, among others, are possible solutions.
Drama as a literary response to Africa’s social and political realities: a comparative study of selected Kenyan and Nigerian dramas
(Kenyatta University, 2016-07) Tengya, Pomak Frank
This study investigates the roles and functions of drama as an instrument of social commentary in Nigeria and Kenya. Drama has been widely acclaimed as a positive medium for mirroring society' hence the popular belief that drama is a representation of life. This powerful attribute of drama has been deployed by playwrights across different epochs to make constructive commentaries on the happenings within their various societies with the view of effecting positive change. As a result of the significant role of Drama in the society, it has become • increasingly important to write and act drama using a method that is understood by the people. The study sought to investigate how Francis Imbuga's The Successor, Ngugi wa'Thiongo's The Trial of Dedan Kimathi, David Mulwa's Redemption, in comparism to Wole Soyirika's A Play of Giants, Ola Rotimi's If.. .Tragedy of the Ruled and Ken Saro-Wiwa's Madam No Go Quench Again serve as utility carriers of literary responses to the problems concerning the African continent. This study was premised on the supposition that social, historical and. political realities in Kenya and Nigeria form a creative reservoir of the two countries' drama. A close examination of the leading playwrights from the two countries reveals the socio- political temper in the two societies. The research sought to highlight the extent to which the playwrights successfully use drama as a means of communication, even though there are different forms of literature in existence. This is important because! the work of an artist in whatever form usually has a universal appeal. The theoretical framework for this' research was based on the Theory of the Avant- Garde and Political Theatre Theory; The theories added impetus to the work as it aligns with the concept of social drama. The methodology that was employed in this research basically revolved around the analyses of the primary texts and library and internet research to add depth to the line of thought. The choice of the playwrights is purposive and is based on fact that three of the playwrights are Kenyans and the other three are Nigerian. The choice was also on the fact that all the' playwrights had experienced colonial and post-colonial governance in both countries. The period of the writings also is a factor that influenced the choice. The methodology also included systematic application of content analysis of related literatures.
The dramatic and theatrical aesthetics of Izara traditional initiation festival of Amo people of North Central Nigeria
(Kenyatta University, 2016-07) Yamma, Solomon Obidah
African traditional theatre is caught up within the vortex of Western inferiorization, the need for documentation, and a conflict of opinions between African dramatic scholars (the evolutionists and the relativists). The indigenous festival traditions in Africa have been described by Finnegan (1970) as ‘quasi-dramatic’ and they lack the dramatic structure of the West. This view by evolutionists is against that of the relativists who claim that traditional festivals in Africa are fully dramatic and theatrical and should not be judged strictly by Western canons. The problem is further complicated by the lack of documentation of these festivals resulting in the disappearance of vital aspects of them. African traditional performance modes, as earlier practised by Africans, were affected by imperialistic activities of the West during colonialism and by today’s globalized mediation. These traditional dramatic forms still retain their value and relevance as pointers to the identity of Africa and are a source of artistic production. This study attempts to establish and analyze the dramatic and theatrical aesthetics (elements) in the Izara festival of Amo people of North Central Nigeria. The study employs the analytical binoculars of performance theory, myth/archetypal, as well as the structuralist/semiotic frameworks to describe and analyze the festival. The study has adopted a qualitative research approach for data collection and analysis in communities of Amo in North Central Nigeria. This involved the researcher using interview schedule, focus group discussion (FGD) and observation schedule. Findings of this research confirm the existence of drama which is indigenous to African people, and that is not necessarily the same as that of the West. This is due to Africa’s peculiarity in worldview and the history of evolution of the African people. The study is an addition to the corpus of critical texts on African traditional drama and theatre, and is significant to film makers, ethnographers, anthropologists, sociologists, and historians. It also serves as a reference for further academic research.
Utilization of Dramatic Elements in Delineating Human Interaction in Selected Drama of Francis Imbuga and John Ruganda
(Kenyatta University, 2018) Kariuki, Faith W. S.
This study focuses on the utilisation of dramatic elements in the delineation of human interaction in six plays of Francis Imbuga and John Ruganda. The study is motivated by the perceived lacuna in the body of knowledge on the utilization of dramatic elements in the rendering of this thematic concern in the selected plays of Imbuga and Ruganda. The study seeks to investigate the intersection between dramatic elements and the way relationships in the society are presented in the six selected plays. This is deemed important because drama is a mirror of society and thus, a powerful tool of social change. The study takes cognizance of the fact that human interaction is an important social concept, and thus it is important to capture the voice of the creative writer, who is the mirror of the society, on the theme. The study seeks to identify the dramatic elements utilised in the delineation of human interaction in the selected drama. It also seeks to examine how dramatic elements are manipulated in order to unlock human interaction in the selected plays. Finally, the study investigates the themes that accrue from utilising dramatic elements in the delineation of human interaction in the plays. The study utilises two theoretical approaches namely: the Dramatic Theory and the Sociological Literary Theory. The Dramatic theory helps analyse how dramatic elements come into play, and with what functions during the performance of the plays. The Sociological Literary Theory also helps generate data on human interaction from the plays. The study combines field and library study. The study, which is qualitative in nature, adopts a triangulational approach. This comprises the use of the following research techniques: observation, semi-structured interviews and focus group discussions. The research finds library study useful in reading, analysing and interpreting both primary and secondary data. The findings of our study are deemed insightful to scholars in drama and to practitioners in diverse fields that focus on human interaction. Such include: sociologists, theologians, psychologists, educationists and administrators.
Film and Social Change: Ideology, Class, and Pluralism in Selected East and West African Films
(Kenyatta University, 2018) Mungai, Anne G.
This study examined contemporary African cinema narratives with a view to guiding a socio-ideological reading of the narratives. Specifically, it has drawn connections between the film’s diegesis and the non-diegetic space to which the film addresses. The study addressed three key issues; social and ideological narratives, class struggles, and pluralism of narrative voices. The films analyzed were selected from East and West Africa. From West Africa, the study analyzed Kwaw Ansah’s Love Brewed in the African Pot (1981), Abderrahmane Sissako’s Bamako (2006), and Veronica Quarshie’s A Stab in the Dark (1999). From East Africa, the study analyzed Wanuri Kahiu’s From a Whisper (2008), Judy Kibinge’s Killer Necklace (2009), Bob Nyanja’s Malooned (2007) and Gavin Hood’s Eye in The Sky (2015). The main thesis is that films empower people to alter their social and ideological positions by influencing their consciousness about their lives. Since this was a study of films, this research concerned itself with the signifying process of film elements. Consequently, the main theory was Semiotics that proposes the analysis of textual elements as signifiers, often with hermeneutic references outside the film. It was a qualitative study, using quasi-comparative approach to combine cross-cutting ideas into coherent arguments about film and social change. The study is significant in that it provides a template that can be applied in studies of cinema and the many social situations of national importance such as; negative ethnicity, governance, family, religion, modernity and tradition, and terrorism to name just a few. These are exemplary of what the study refers to as social change.
Theatrical elements in Nakenyare festival of the Chamba Leko people of Adamawa State of Nigeria
(Kenyatta University, 2018-02) Ahmadu, Danbello Ibrahim
Every society struggles for the survival and progress of its norms and values. This struggle against cultural extinction is manifested in the display of its culture. The recognition of Africa‟s great culture in modern civilization underscored by Western influence has been seriously undermined and de-emphasized. The communal nature of most African societies is expressed through their common observable kind of behaviour based upon established traditional rules known in African societies and dependent on their belief system. African theatre and drama have roots in these traditions, which, in Africa, are predisposed to be ritualistic or communal in nature. Entrenched in these periodic events/rituals are weighty and inimitable theatre elements such as costumes, make-up, music and dance, theatre space, masquerading, impersonation, enactment, dialogue and repetition. The study identifies and examines the various theatrical elements within the Nakenyare festival performance. The study adopts performance and ritual theories which provide frameworks for making generalization on the performance and function of theatre elements within the performance. The research employs mostly the ethnography qualitative methods of research approach through a careful descriptive analysis of books, journals, reports, and other secondary sources. Qualitative method was used to gather primary information from recorded tapes and videos while observation and informal interviews were applied to get first-hand information from respondents and the recorded performance. The respondents were sampled purposively to get the required sample size from the closely estimated total population of 600,032 of the Chamba Leko people. Respondents consisted of youth groups, women groups, title holders and custodians of the traditions and custom. The Nakenyare performance of the Chamba Leko people of Adamawa state of Nigeria was used as a paradigm. The research study looks at various theatrical elements that preoccupy the Nakenyare festival in Chamba land. It also advances reasons why these theatrical elements have taken the certain changes and different form from that of the west and is against this backdrop. It postulates that the researcher finds out that these changes, within the festival performance were as a result of great custodians embracing the two new found faiths (christianity and Islam) that lead to the dwindling of various knowledge of craft made to be passed on to the next generations and which in turn lead to leaving the attendance of the festival to the rural dwellers only, as those in the urban view it as fetish against their new found religion and also termed it an old fashion.These affected and hampered the oral nature of the festival as the little people who made it to the festival from the urban can not speak the local dialogue or they want most of the theatrical elements to be rendered in the modern ways, against the traditional acceptable norms within the Chamba Leko traditions. The research work recommends that, those in diaspora should attend the annual festival to get to know it, and annual documentary and broadcasting of the annual events be made within and outside Nigeria to give the festival the much needed awareness and acceptability and in turn help bring back its lost glory and glamour.
The effect of docudrama films on psychological distress among urban women refugees in Nairobi County, Kenya.
(Kenyatta University, 2018-03) Situma, Eliud K.
The study sought to investigate how docudrama film could be used as a psychotherapeutic tool among traumatized women refugees. The objectives of the study were: to establish the levels of psychological distress, establish whether cinematic techniques affect psychological distress, and investigate the effectiveness of docudrama films on the levels of psychological distress among urban women refugees. The study employed mixed method research design which covered both qualitative and quantitative approaches. A population of 48 participants was purposively sampled for this study. Participatory action approach, observation and Interview methods were used in data collection. The study used questionnaires, psychological distress scale, Beck‟s depression inventory, interview guide, observation guide and content analysis guide as research instruments. Paired T-test was conducted in order to establish the significance of relationship between the two groups. The major findings resulting from the analysis show that cinematic techniques and enactment greatly play a role in reducing psychological distress levels as well depression. Also, the study establishes that docudrama films help to reduce both psychological distress and depression levels among female refugees. Consequently, the study concludes that protagonists, if portrayed positively, help the viewers recover from their psychological distress and depression. It also concludes that cinematography techniques hold healing and therapeutic value if utilized in psychosocial supportive environment. In its recommendations, the study points towards further research on using docudrama film on male refugees and use of other genre of films, besides docudrama, as a therapeutic tool on traumatized groups. The study also recommends use of comparative analysis to determine how film impacts differently on other groups of refugees like Somalis and those who stay in camps. On the industry, it further recommends film to be used together with other traditional methods in helping recover traumatized refugees. Finally, it recommends that film makers and institutions offering film studies should train their students‟ crew on the correct choice of cinematography when making docudramas meant for therapeutic use.
Cinema as Cultural Discourse: A Study of Cultural Symbols in Selected Contemporary Gĩkũyũ Comedies
(Kenyatta University, 2019-02) Njoroge, Stanley Mbũgua
This study examined how cultural symbols are deployed in selected contemporary Gĩkũyũ vernacular comedies. The study sampled the following comedies; Mũici na Kĩhĩĩ (He who steals with uncircumcised man), Kĩrĩro kĩa Mwana (A Cry for a Child) by Wandahuhu; Mũtikũnyarira (You will not torment me) and Nganga Mbute (A featherless guinea fowl) by Kĩhenjo and Mũndũrũme nĩ Mũgambo (A Voice confers authority to a man) and Mũthuri nĩ Mĩtugo (Character makes a man) by Machang’i. The study is conducted through reading and analysing the filmic texts, Focused Group Discussions, detailed content analysis and analysis of both primary and secondary data. This study investigated cultural symbols in Gĩkũyũ vernacular films by using film semiotics that assisted to investigate and explicate the film as cultural narratives, where the dialogue is a site for defining cultural voice, ideology, identity formations and individual sensibilities. The study concludes that emergence of Gĩkũyũ vernacular films is expediting cultural paradigms by documenting and exposing hitherto inert cultural nuances and discourses to light, predominantly among the young urban dwellers and educated Gĩkũyũ speakers. Some of themes that are identified and discussed; rites of passage, gender relations, religion, social stratification, cultural expressions, and material culture. This thesis has also endeavoured to bring out salient observations arising from the study and accompanying recommendations as well as areas of further research in this academic front. Thus, this study contributes, in a modest way, to suggesting a systematic approach to the study of Gĩkũyũ vernacular films to appreciate and evaluate their symbolic and aesthetic impact as a powerful mass medium using semiotic discourse practices.
Configuration of Kenyan Film Acting: A Study of Eight Selected Drama Films
(Kenyatta University, 2019-03) Azangalala, Shapaya Beneah
Acting is one of the most obvious items that one observes in a play or film. Indeed, when one goes to watch a play or film, one usually observes the characters acting so as to tell the story dramatically. However, it ought to be appreciated that actors/actresses perform differently according to their abilities, creativity, social contexts and culture. Hence, this study aimed at analysing the techniques of acting as employed in selected Kenyan films by establishing their characteristics and comparing them to established theoretical frameworks. This research analyses eight films, namely: Killer Necklace (2008) by Judy Kibinge, Weakness (2009) by Wanjiru Kairu, Maisha (2010) by Andrew Odera, Taharuki (2011) by Ekwa Msangi-Omari, Pulse (2011) by Erick Wanyama, Madam Chief (2011) by Joan Kabugu, Blurred Birth (2011) by Victor Ogolah and My Faith (2014) by Bruce Makau. This is a descriptive study, which employed System Acting, External Acting Method and Speech Act Theory as its base theories. The study employed the theories with the aim of verifying the effect of the social environment on the actor/actress and identification of patterns inherent in the acting techniques. The first Chapter of the study acts as an introduction, with the second Chapter analysing the actor’s/actress’ use of voice. The third Chapter examines the actor’s/actress’ use of facial expressions, gestures and postures. The fourth Chapter deals with the actor’s/actress’ use of movements, stage business and proxemics. The final Chapter forms the conclusion and it observes that there are discernible patterns employed in acting and although most of the actors and actresses interviewed had attended short topical workshops conducted by various directors and academicians on performing, they were not grounded in acting theory. Hence, most of the time they performed their roles through their understanding and observations of how individuals operated in society. Finally, the study notes that acting techniques employed by the actors/actresses had a communicative value as focus group participants were able to accurately identify the facial expressions, gestures, postures, movements and proxemic elements in the frames and short video clips derived from the selected films.
Participatory Film as a Tool for Social Change Among Drugs and Substance Users in Kiambu County, Kenya
(Kenyatta University, 2019-06) Gitimu, Susan Nyawira
Drugs and substance use in Kenya has reached crisis levels. Kiambu County has been especially cited as a hotspot for this catastrophe. Whereas different stakeholders have responded to this vice through legislative, legal and social methods, its persistence suggests a need to rethink the methods of mitigating this problem and their efficacy. This is precisely the justification for this study that examined the use of participatory film as an alternative tool for motivating social change among drugs and substance users in Kiambu County. Specifically, the study’s main objective was to establish the extent to which participatory film can be productively used as a pedagogical tool, to render and publicize the clearly sidelined views of drugs and substance users, and finally, as an exercise that can empower these users. The study used social change theory, qualitative research method, and descriptive study design to achieve these objectives. Using both probability and non-probability sampling, it selected two hundred members from fourteen self-help groups comprised of drugs and substance use victims in Kiambu County. Participants were recruited as experts out of their lived experiences, and guided to generate participatory data, as part of the primary data for the study. Other primary sources of data included participatory observation, focus group discussions (FGD), and interviews. Secondary data was collected through review of literature. As argued throughout this thesis, the findings affirmed that participatory film can be used as a tool for motivating social change among drug and substance users in Kiambu County. Through this argument, the study joins scholarship on film and social change and recommends the use of participatory film to other researchers and practitioners in the fields of film for development and the wider development communication. This approach is also recommended as beneficial to filmmakers and social change activists aiming to motivate change among different marginalized groups.
Assessment of Adoption of Teachers’ Service Commission Dress Code by Female Tutors in Public Teacher Training Colleges in Kenya
(Kenyatta University, 2019-06) Munyua, Dorothy M.
In an effort to maintain clothing styles within the teaching fraternity, Teachers Service Commission came up with design sketches for incorporation in dress code in 2006. The TSC manual of code of conduct and regulations, states that tutors should dress decently and be presentable. Numerous studies have been done in Kenya on clothing selection among teachers and other groups; however, there is limited documentation regarding dress code for tutors. This gap inspired a study to assess the extent of adoption of TSC dress code among female tutors in Teacher Training Colleges in Kenya. The purpose of the study, therefore, was to establish factors influencing clothing preference and adoption of dress code. The following objectives guided the study: to identify the socio-demographic characteristics of tutors, to establish the level of awareness of the TSC dress code, to identify functional, expressive and aesthetic garments elements that female tutors consider, and to establish the relationship between selected variables and adoption of TSC dress code among others. A cross-sectional survey research design was employed where a mixed method design was used to collect and analyze the data. Cluster and random sampling methods were used to select from a target population of 613 female tutors in all twenty-four public teacher training colleges in Kenya. The sample size comprised of 184 female tutors. Data was collected using questionnaires and observation checklists. Data were analyzed, and results presented using tables, frequencies, and percentages. Chi-square test of independence was used to establish the relationships among independent variables and the dependent variable. Qualitative data were summarized by grouping the responses of open-ended questions thematically based on each question. The results revealed that majority (62.8%) of the respondents in this study were lecturers, with a master’s degree and the average age of 47 years old. Most of the tutors were married (79.8%), with between one and three dependents and 56 percent earned up to Kshs 55,000 monthly. The study established that a higher percentage of those who were aware of the TSC dress code requirement was conforming. However, observation revealed that the majority of female tutors had close-fitted garments, 51.7% had clothes exposing cleavage, and 3.3% wore transparent garments. In terms of hypothesis testing, there was a significant relationship between the net monthly income (Chi-Square value 8.336 and p-value of 0.004), levels of awareness of TSC dress code (Chi-Square value of 18.878 and p-value of 0.000) and adoption of the TSC dress code. In conclusion, factors that influenced clothing preference and adoption of TSC dress code were the age of respondent, net income, and the level of awareness. Functional, expressive, and aesthetics garment elements were a comfortable garment, well- constructed garment and one’s personality. A manual of clothing styles was developed based on the clothing styles most preferred by female tutors that could be incorporated into the TSC dress code. The study recommends that the Teachers’ Service Commission should put into account the views of tutors and fashion trends when revising and implementing a formal dress code.
Substance and Structure of Animation Films in Kenya: A Study of Selected Films
(Kenyatta University, 2019-11) Ogutu, Raphael Nakhumbi
This study investigates the substance and structure of animation films in Kenya. Specifically it focuses on thematic analysis of Kenyan animation films narratives representations through artistic styles, using techniques like mise-en-scene, montage, narrative styles, non-diegesis, and diegesis. The analysis focused on communicative artistic form and dominant themes of social, political and cultural issues addressed by Kenyan animators, writers, and producers. The analysis of animation films from Kenya include: The legends of Ngong hills film (Bunitv 2011), films sampled from Tinga Tinga tales series: why lion roars, why chicken pecks the ground and why lizard hides under the rocks (Homeboyz Animation- first episode 2011), Greedy lords of the Jungle, Africa’s next top poet, Shadowboxing, Driving test, Miss match, Lunchtime woes, Savannah drama, Two olds (RECON-Digital 2009-2012), and Wageuzi Battle 2012 (Afrikana Digital 2011). This study also analysed advertisements about FAIBA Episode 2 caveman series, and Safaricom Sambaza (Fat boy Animations). The study addresses four key issues; the stylistic features employed by animators, animators’ use of particular communicative forms as opposed to others in addressing specific social, political, economic, and cultural issues in Kenya, audiences’ interpretation of the sampled Kenyan animation films, and themes of social and cultural issues addressed by Kenyan animators/ writers/producers through animation films. The study employs mixed research method; however, the qualitative design is the dominant approach used. The design comprises library research, thematic content analysis of selected films, focus group discussions, and in-depth interviews with selected primary school pupils, parents and filmmakers. Three theoretical perspectives, Social Cognitive Theory, the Conventionalist theory of pictorial representation, and the Neo-representation theory guided the analysis of this study. The study findings show that the Kenyan filmmakers create short experimental animation films, which focus on advertising because of its good financial returns. Kenyan animation filmmakers’ stylistic features employed, varies from animator to animator, however, the 3D animation technique is the most popular among them. Foreign animations influence children positively and negatively. The main thesis is that Kenyan animation filmmakers create film narratives on issues about the Kenyan society at large. Film animators in Kenya use both deliberate and envisaged efforts as an avenue of addressing as an avenue of addressing Greed, selfishness, Deception, and political power; Confidence in life’s challenges; Bravery, betrayal, and love; Persuasion, success and enjoyment, among others. There are popular animation characters that appeal to children, in terms of artistic character representation and storylines. This is dependent on showing animation film character’s ability to cope with social challenges and his or her physical attractiveness, and as a result, an establishment of parasocial relationship. Hence animation films serve as a platform which the Kenyan filmmaker can express themselves about issues in the Kenyan society. The study is significant in that it provides an applicable model in studies of animation films and the many socio-cultural situations of national importance.
Influence of Opinion Leadership Communication Strategies on Exclusive Breastfeeding in Meru County, Kenya
(Kenyatta University, 2020-02) Kalangi, Susan Kiambati
This study investigated the influence of opinion leadership communication strategies on Exclusive Breastfeeding in Meru County, Kenya in order to improve the Exclusive Breastfeeding practices for better maternal and infant health. To enable an effective appraisal, the study was carried out in Igembe North Sub County of Meru County. The study was guided by four specific objectives as follows: to establish which opinion leaders are engaged in Exclusive Breastfeeding campaigns in Igembe North Sub County; to examine which opinion leadership communication tactics are used in influencing Exclusive Breastfeeding in Igembe North Sub County; to evaluate the communicative attributes of opinion leaders influencing Exclusive Breastfeeding practices in Igembe North Sub County and to determine what socio-cultural factors influence the effectiveness of opinion leadership communication strategies for Exclusive Breastfeeding practices in Igembe North Sub County. The Two Step Flow and the Uncertainty Reduction theories of communication were used to guide the collection and interpretation of data. The study adopted the mixed research design: qualitative and quantitative. Multistage sampling technique was used to select a quantitative sample of 384 breastfeeding respondents that was determined using Fischer and Krejcie and Morgan’s standard sample size calculation formulae. Ultimately, 372 respondents were surveyed, which was 96.8% response rate. Purposive sampling was used to select 32 respondents for the qualitative sample: 24 FGD participants and 8 Key Informants. A total of 31 qualitative data respondents were available for interviews and Focus Group Discussions. The survey method was used to collect quantitative data from four purposively sampled sub-locations of Igembe North Sub County. Interviews with all eight Key Informants were used to collect qualitative data. In addition, four focus group discussions were held comprising a total of 23 male and female participants. Quantitative data was analyzed using descriptive statistics (mainly percentages) with the aid of Statistical Package for Social Scientists (SPSS) and the results presented using tables. Qualitative data was analyzed using emerging themes and presented as narratives that were triangulated with the quantitative data. Study findings indicated that fellow mothers, mothers-in-law and healthcare workers were the most influential EBF opinion leaders. Secondly, the study concluded that Breastfeeding mothers in Igembe North Sub County rated EBF opinion leaders as more influential if they were highly knowledgeable on EBF, social and friendly, trustworthy and if they were their role models. Thirdly, although EBF opinion leaders in Igembe North Sub County had used the highly rated face-to-face communication methods and proper (local) language to communicate EBF information, the rate of EBF information adoption still remained low due to inapplicability of the message to the physical and social–cultural environments of the breastfeeding mothers. The study concluded that socio-cultural factors such as maternal occupation and workload, cultural infant feeding practices and pressure from relatives led to early EBF cessation. The study recommended that expert EBF opinion leaders should be supported to identify and empower many lay opinion leaders in order to ensure more frequent communication of positively influential EBF information at the community and house holdlevels.
Exploring Role of Media Convergence in Intrusion of Privacy: Experiences of Regular Internet Users in Nairobi City County, Kenya
(Kenyatta University, 2021) Nancy Wanjiru, Kungu; George Ngugi King’ara; John Mugubi
Media convergence has triggered unlimited production and consumption of the Internet content by embracing novel smart devices and interactive tools that permit users, including audiences, to create and to share massive information on the cyberspaces; hence, raising unprecedented online privacy concerns. This study therefore explored role of media convergence in intrusion of online privacy based on the experiences of regular Internet users in Nairobi City County in Kenya. The theoretical framework adopted in the study comprised the Theory of Media Convergence by Henry Jenkins and the Privacy Theory of James Moor. The study used four FGDs drawn from four selected universities in Nairobi City County and eight key expert interviewees from government organizations related to communication. FGD discussion and Interview guides were used in data collection. Data was analyzed qualitatively based on related thematic concepts. Findings depicted a proliferation of unrestricted user-generated information where online players, who are not journalists, were constantly creating and distributing information of private nature, news of shock, acts of violence, crime, sexual assault, and messages of bereavement and grief. Infringement issues isolated by the key expert respondents included harvesting of personal data, disclosure of information, data breach, identity theft, impersonation, and fake news. Susceptibility of social sites to cyber-attacks, the proliferation of unregulated social sites, user vulnerability, Internet tracking tools, Internet penetration, searchability, and online anonymity were deemed to challenge regulation of the IP. The study concluded that: Internet users were divulging vast amounts of private information on the IP; privacy violations were being witnessed and; an array of mitigation strategies was adopted including legislation and policy-making, enforcement of compliance, incidents response, capacity building, consumer education and outreach programmes. The study made the following recommendations: media regulation and policy-making to continually focus on reviewing of cyber regulatory environment; to consider making a law that would, primarily, focus on online privacy; to explore the possibility of collaborations among nations in dealing with Internet violations; to encourage data minimization and; to consider extending consumer outreach programmes to university students. Recommendations made for further research include: investigating implications of privacy infringements on the cyberspaces and; exploring user-awareness of cyber privacy risks.
Online Group Interaction and the Development of Virtual Identity among the Youth in Nairobi City County, Kenya
(Kenyatta University, 2021) Omukoba, Deckillah Shitandi; George N. King’ara; Tommy Kiilu
The internet has taken the new role of community through online groups where youth congregate to interact, exchange ideas and pursue interests. As they engage in self-expression and self-presentation online, it is important to understand how virtual identity is negotiated and formed in those spaces. This research analyzed online group interaction and the development of virtual identity among the youth in Nairobi County. The objectives guiding the study were: 1) To establish the extent to which the youth are part of online groups. 2) To establish the reasons that influence the youth to join online groups. 3) To determine the extent to which online group membership develops the virtual identity of the youth. The independent variable in the study is online group interaction while the dependent variable is virtual identity development. Review of literature in this research is based on various aspects of online group interaction in relation to its potentiality in forming the virtual identity of group members. The communication theory of identity (CTI) and uses and gratification theory (U&G) were adopted to form the theoretical framework for this research. The study employed a mixed method research design in which the main methods used in data collection included; Self-administered questionnaires, Focus Group Discussions, and In-depth interviews. This study comprised four focus group discussions of ten members each sampled from two Universities in Nairobi County, a young professionals group in Kasarani sub-county and a youth support group in Mwiki Nairobi, County. Eight social media experts were interviewed. A cross-sectional survey targeting the youth was conducted in two Universities in Nairobi in which 384 questionnaires were administered to the targeted respondents. The data collected was analyzed qualitatively and quantitatively based on the themes derived from the objectives of this study. Quantitative data was analyzed using the SPSS software, while the qualitative data was analyzed using the NVIVO software. The three-dimensional identity model by Crocetti, Rubini, & Meeus, (2008) was also used to analyze objective three of this study. Findings revealed that the independent variable of online interaction influenced the performance of users online leading to the development of a virtual identity that they are associated with. Equally the reasons for interaction online such as bonding and bridging influence the kind of self-expressions that the users exhibit online thus characterizing their virtual identity. The study concluded that because the youth are engaging online, they are performing ever-changing identities. There is therefore a need for them to be guided for positive outcomes. Equally the study made the following recommendations, firstly, online group interactions could be used positively as a platform for social interaction and change. Secondly, more online groups that address youth related matters should be created as a way of addressing this transitional stage in life. The study suggested further research in rural context and the adult segment.

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