PHD-School of Visual and Performing Arts

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This collections contains bibliographic information and abstracts of PHD theses and dissertation in the School of Visual and Performing Arts held in Kenyatta University Library

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Developing strategies for teaching aural musicianship in Kenyan secondary schools
(2011-07-25) Mbeche, Gesare Cleniece
Many scholars, for example Kodaly, Dalcroze and Campbell would argue for the important role of aural musicianship in Music Education. One of the purposes of Music Education is the creation of an environment in which the human potential is nurtured to bring forth and understand a variety of musical experiences. Music is a phenomenon that is experienced through the ear so the basis of all instructional programmes should be the cultivation of an acute musical ear, which is developed when emphasis in music is focused on auditory discrimination and analysis. The ability to discriminate aurally between sounds leads to aesthetic growth and sensitivity, which enables one to respond to music aesthetically, intellectually and emotionally, thereby gaining deeper meaning from musical experiences. The main aim of this study was to develop strategies for teaching aural musicianship in Kenyan secondary schools. It was noted that a majority of candidates taking the Kenya Certificate of Secondary Examination (hereafter KCSE) consistently perform poorly in aural musicianship, a situation that warrants further investigation to determine the causes. Purposive sampling was used to select schools offering music as a subject. Out of twenty schools, six were selected to form the sample. The study was conducted using quasiexperimental method of research. Selected experimental groups were exposed to newlydeveloped teaching strategies while the control group continued with the current methods used by teachers (described later in the document). In terms of data organization, the randomized pre-test post-test control group experimental design was used for generation of appropriate data. Among data collection instruments used were interview schedules, questionnaires, attitude scales and non-participant observation. Data from the questionnaires were coded using Statistical Package for Social Sciences. Descriptive and inferential statistics were used; descriptive statistics used were tables, graphs and charts while inferential statistics used included the T-test for independent means. Analysis of Covariance, effect size index and the Null Hypothesis Statistical Technique. Findings from the study revealed that systematic teaching or sequential instruction has great potential for improvement of aural musicianship performance. Established teaching strategies employed by the teachers gave little empowerment to the students to do aural work on their own. A variety of teaching resources for aural musicianship were available but teachers lacked essential skills for their use in teaching aural skills. Unfortunately, data showed that some of the teachers did not understand the importance of, or what aural training entailed. This may have led to their negative attitude towards aural training, which in turn spread to some students. To counter this, the study generated a learning sequence based on readily available song material for teaching aural musicianship to secondary school learners in Kenya but the approach is applicable in similar circumstances elsewhere. Some of the recommendations made after the study were that methods used should be informed by current research trends and approaches; that curriculum developers should design the course in a way that music knowledge acquired in other areas of the curriculum is synthesized; and above all, since music education develops in the social, cultural and economic context within a society, the rich cultural heritage of available folk music should be used consistently to teach music concepts and procedures in the classroom, commensurate with modern trends in music education. While music is no longer being offered as an examinable subject at KCSE level, it is critical for those music teachers who have the opportunity to participate and teach aural musicianship with the serious approach it deserves, to have this as a mind set and a way of conducting instructional activity.
A critical analysis of indigenous Kenyan music procedures: developing the embedded pathway approach model for interactive learning for secondary schools in Kenya
(2011-07-25) Mushira, N. Evelyne
This study was carried out against a backdrop of current educational process in Kenya which (the process) is heavily grounded on Western education models. These models, unfortunately, were not known for including African music in the general music curriculum, to say nothing of apportioning adequate time for music on the time-table. Such practices have not been successful in yielding musicianship that is vibrant and practical. The aim of the study, therefore, was to explore the instructional promise of' selected indigenous Kenyan music processes as possible models for curriculum design and implementation with the objective of developing a formal approach for secondary schools in Kenya. The study was prompted by the need to confirm AFT can music, an oral art, in contemporary formal music education. It was hypothesized that there would be a positive change in music expectancy scores when students are instructed through indigenous Kenyan music processes. The theoretical framework constituted of the socio-cultural and music learning theories. The study was conceived upon a music learning process illustrated as concentric circles learning pyramid model (CCLP model) A combination of documentary and experimental strategies provided the overall study design. The study was piloted and necessary adjustments made on field logistics as well as research instruments. Documentary procedures through literature review identified and reinterpreted indigenous Kenyan music processes. A total of 6 out of 29 articles on indigenous Kenyan music authored from 1954 to 2005 were reviewed, having been drawn out through a process of theoretical sampling. Call and response, through content analysis, emerged as the most prevalent process of indigen a Kenyan music (33; 52.38%). An experiment was designed to test the study hypothesis. Key variables were identified as a) music expectancy achievement (dependent), and b) call and response instruction method (independent). Variables that were manipulated for control purposes included: gender; region; and teacher/learner preparedness among others. Schools from two out of the eight provinces in Kenya constituted the study sample, the population having been defined as students attending secondary schools that offer music as an examinable subject under the 8-4-4 system. Results from both control (n=81) and experimental (n=87) groups yielded t-values of 0.355 and 8.927 respectively. These results upheld the key study hypothesis which had predicted a positive relationship between music expectancy achievement and the call and response a process of instruction. The second hypothesis having focused on a gender based differentiation with regards to music expectancy performance by reason of the new instruction method was similarly upheld. On the contrary, data did not support the third hypothesis that had conjectured the same outcome but with a differentiation between rural and urban regions. Although a positive change in music expectancy scores was noted, the overall differentiation in performance between the two regions was negligible. Interestingly, supplementary data emerging out of the study yielded notable differentiation in tone and rhythm perception with regards to gender and region. On the whole, implication is showed that indeed, indigenous Kenyan music processes have substantial pedagogic value which is either untapped or used sporadically without appropriate instructional guidance. A proposed instructional method based upon the call and response procedure was consequently developed to supplement current music instruction practices. Such an instructional method however, would need to be continually evaluated to maintain currency and appropriateness. The study recommends that universities and teacher training colleges review their music education programs so as to appropriately address indigenous Kenyan music.
An analysis of musical and theological meaning in the hymnody of legio maria of african mission church in Kenya.
(2011-07-25) Ol'leka, Shitandi Wilson
Review of available literature showed a paradoxical hybridity in the hymn singing of Legio Maria of African Mission Church in Kenya, abbreviated herein as LMC faithful (jolejo). were viewed as preferring a community of their own that stood opposed to certain aspets of traditional and modern world systems. Yet on the one hand, they embraced and appropriated hymn from Roman Catholicism, musical expressions that they had earlier objeted to and on the other, explored songs that exhibited Luo traditional misical idioms. It was out of this paradoxical hybridity that the study sought to analyse the musical and theological meaning in the LMC hymnody to ascertain among other issues the role the hymnody played in shaping and informing the religious and social- cultural life of jolejo. The study employed ethnographic research design in which descriptive techniques were used. Study population comprised choir singers (n=20), the clergy (n=9) and lay leaders (n=2) drawn from three districts in Luo Nyanza namely; Migori, Kisumu and Siaya.Descriptive investigations were conducted using semi-structured questionnaires which were administered with the help of research assisstants. In addition, formal interviews and field observations were conducted. The study found out that musical meaning in LMC hymnody ranged from varying musical attributes inherent in the hymns and how the attributes were appropriated by jolejo, to different liturgical and social-cultural roles the hymnody played in the lives of the faithful. The hymnody constituted musical forms and categories that accrued from structural organisation of melodies, rhythms and harmonies. It was found that message in the transcribed hymns accounted for Christological motifs appearing in the hymn-texts and, which ascribed to Jesus Christ as potrayed in the Bible. Fewer hymns accounted for Christological appellations ascribed to Baba Mesia Ondeto and mama. It was also found that LMC objected to utilization of instrumental accompaniment, dancing, and other gesticulations associated with traditional and contemporary music cultures. These musical expressions were viewed as distractive and belonging to world circus. It was ascertained that LMC blended continuity and discontinuity of familiar and unfamiliar music traditions. This blend was seen as a way of confronting the challenges posed by the conflict between on one hand, the age-old RCC and Luo traditional music expressions preferred by the old generation and on the other, the neo-traditional and contemporary African idioms identifiable with the young people. It was ascertained that LMC hymnody exhibited a nature that was both eclectic and to a lesser extent syncretic. The innovations of the study in the study in the context of syncretic interactional model of African hymnody (SIMAH) were viewed as important insights into the dilemma of validating which hymns should not be considered appropriate for the LMC worship. The innovations were seen as significant step to a fuller understanding of the kind of hymns to be employed in African Christian Church settings. Essentially, the study of LMC hymnody revealed a model of an African hymnody that could be used as a benchmark for other African Christians churches that are seeking to create a hymn singing traditional that balances and blends old and new, cultural and contemporary expressions with limited theologican and social-cultural strain. The study, however, recommended that for the purposes of comparison, a similar study be conducted for other Christian movements in Kenya.
Assesment of the properties of silk fibre and fabric produced by bivoltine silkworm, bombyx mori L.(Lepidoptera: bombycidae) in Nairobi, Kenya.
(2011-08-09) Nguku, K. Everlyn
Concern about global warming has led to renewed interest in the more sustainable use of natural fibres. Among the natural fibres, silk indeed commands considerable respect. Silk is a proteinaceous polymer secretion in the form of a cocoon, consisting of a continuous filament. Although it has been in use for centuries worldwide, Bombyx mori silk is one of the least researched fibre in Kenya. It has many unique physical advantages and properties which make it the highest priced natural fibre. The purpose of this experimental study therefore, was to evaluate properties of silk fibre, fabric and cocoons produced by the B. mori silkworm, through the rearing of six selected silkworm strains. Two locations, the Commercial Insects Programme (CIP) laboratory (S 1) and the CIP farm (S2) W ere set up in order to study the performance of the selected strains during two seasons, the long rains (LR) and short rains (SR). This study revealed that there was a significant difference in the means of cocoon, pupa and shell weight in the two locations and seasons. ICIPE I had the highest cocoon and pupa weight, in the two locations and the highest mean shell weight in location S I. Results established that the longest silk filament length, 1183.35m, was obtained from ICIPE I during the LR season, and weighed 0.355gms. Silk winding breaks varied amongst the different strains, with ICIPE I having the least counts. Average tenacity and elongation for the raw silk analysed was 3.93g/d and 18.5% respectively and differed between the seasons and strains. It was further observed that silkworm strains with high elongation had the least number of winding breaks due to increased elasticity. Cleanliness and neatness percentages differed among the strains, and notably ICIPE I's cleanliness and neatness percentages were higher than the other silkworm strains during the two seasons, 96 and 93% respectively. There was no significant difference in the fabric mass per unit area in the two locations at P < 0.05 (P = 0.0001) and during the two seasons (P = 0.0001). Evaluation of the influence of the various silkworm strains had on the breaking load revealed that there was no significant difference on the warp and weft at P < 0.05 (p=0.0188) and (p=0.0006) respectively amongst the six strains. Auxiliary indications established that the different silkworm strains used in this study were significant in the tearing strengths of both warp and weft (P < 0.05) (p=0.989) and (p=0.776) respectively. ICIPE I recorded the shortest . larval development period in S1 during SR and it was significantly shorter (F = 12.61; df = 71; P = 0.05) compared to the other strains. From the research findings, it can be concluded that there is a link between the silkworm strains and ecological conditions during rearing, which determine the larval performance. Consequently, the larval performance characteristics significantly influence the silk cocoon, fibre and fabric properties. In addition, the cocoon properties, collectively with fibre production processes play a major role in determining the fibre properties, which when combined with fabric production processes influence and determine the fabric properties. W major outcome of the study was the establishment of a silk fibre quality control laboratory. Further ICIPE I silkworm strain was identified as having the most economical traits and most suitable for field rearing in Kenya, compared to the other five strains. This study recommends the Kenya Bureau of Standard (KEBS) together with the relevant textile stakeholders should draft a standard method against which silk fabric in Kenya can be tested and graded. In addition, further research on suitable silkworm strains and training in silk production processes at all levels for production of quality silk products.
The use of song and movement to create a multicultural curriculum for early childhood music education in Kenya
(2011-11-23) Andang'o, Elizabeth J. A.
Early childhood musical development has gained research prominence in recent years. Researchers and early years' educators, in response to findings that musicality begins before birth, are continually seeking ways to tap the undeveloped musical potential inherent in young children. The influence of nature and nurture in child and musical development and the extent to which each influences growth also continue to invite more investigation. A credit to social anthropology, culture as an aspect of nurture is now regarded as a key determinant in the whole growth process. Furthermore, with increasing global integration, multiculturalism has become a living reality in its different contexts. It is especially a reality in music educational settings, where teachers are faced with myriad challenges and opportunities to explore diverse musics for the purpose of societal cohesion. This research considered both early childhood musical development and multiculturalism, with the aim of creating a curriculum addressing both developmental stages and multiculturalism in early childhood, for the purpose of developing children's musicality and finding ways in which it could be applied to their education. Research procedures included a descriptive investigation and a quasi experiment. Descriptive investigations, carried out on preschool teachers (n=130) from 21 Day Nursery schools in Nairobi, were applied to examine musical activities in preschools, as well as teachers' experiences in instructing children in music and movement activities, and the use of music in other learning activities. The quasi experiment involved examining the viability of multicultural Kenyan music as part of the existing repertoire children perform, and exploring ways in which it could be incorporated into a curriculum for early childhood education. Children from 3 preschools (n=78) underwent an intervention based on the objective of teaching multicultural musical activities, and through them, experiencing the various elements of music as well as the delineated meanings of music, both of which could be applied to other learning activities. Key findings revealed that new forms of children's music have evolved in playground activities as a result of the dynamism of culture. It was also found that despite the passage of time, older music forms still existed. Teachers were found to have an understanding of the difference between the use of music to achieve extramusical goals and the teaching of music to gain a deeper understanding of it as a discipline. However, the study found that there was a necessity to develop education in music further, both for its own sake and in order to use it more effectively in early childhood education. Finally, the study found that children had a positive response to multicultural music. It was therefore proposed that more variety of interactive multicultural music be introduced in preschools, accompanied with a variety of musical activities
An exploration of the creative performance of secondary school and the implications for the teaching of art in Kenya
(2012-01-04) Oludhe, David Owuor
The contribution art can make towards the personal development of pupils has been curtailed in Kenyan schools by a variety of factors internal and external to the subject. This study attempts to illuminate the teaching/learning of art in secondary schools in Kenya with the view to offering practical suggestions for possible improvements. The study is grounded on a premise supported in literature that, of all values of learning art, creativity is the key value and one through which all other values are realized. In this regard, then, the creative performance of pupils is conceived as indicative of the efficacy-level of school art programmes. This study was designed to explore the relationship between the domains of art and the domains of creativity. Four factors of art were identified as: 1. Subject matter/Theme (F1), 2. Expressive quality (F2), 3. Composition (F3) and 4. Choice and use of media (F4); While, the domains of creativity included: 1. Flexibility, 2. Fluency, 3. Originality, 4. Elaboration. The study shows that creative expression in art derives motivation from exposure, practice and an enabling environment. Based on this inference, a framework for teaching has been synthesized. The study recommends that pedagogic approaches should emphasize opportunities for creative expression through adequate exposure and practice. The enabling environment should provide for materials and ideas within a cultural context.
Indigenous Music and the communication of selected innovative social concerns: synchronic analysis of Dodo and Nyatiti songs in Siaya district, Kenya
(2012-01-05) Digolo, B.A.; Akuno, Emily Achieng; Kidula, J. N.
This study investigated the communicative viability of Dodo and Nyatiti music among the rural population of Siaya District. Specifically, the study sought to: 1. Analyze the structural, melodic and rhythmic attributes of selected Dodo and Nyatiti songs in order to determine their indigenous epithet; 2. Determine whether the texts of the selected Dodo and Nyatiti songs embodied any aspects of messages related to modern health, literacy and family planning; 3. Ascertain whether respondents selected among the study population perceived Dodo and Nyatiti songs as viable modes of communication; 4. Establish factors that influenced the growing recognition of the indigenous songs as media of communication in the district; and 5. Ascertain whether the messages transmitted through the selected indigenous songs would resulted in acquisition of knowledge on issues concerning modern health, literacy and family planning. The study targeted male and female adults in the district, the traditional musicians, and personnel from Departments of Information and Culture. The techniques used in selecting a working sample from the study population included simple random, purposive and snowball sampling techniques. Data was collected from the respondents using various types of instruments including structured interview schedules, opinionnaire schedules, observation schedules, and also through participant observation and unstructured interview. The data was analyzed using an inferential statistical procedure namely, T-test for related samples, and through description and explanation of qualitative features of the data. The findings of the study revealed that a substantial number of people in Siaya District concurred with the claims that indigenous music forms like Dodo and Nyatiti are viable modes of communication. Structural, melodic and rhythmic attributes of Dodo and Nyatiti were found to have significant bearing on the communicative viability of the genres. The communicative capacity of Dodo and Nyatiti songs was authenticated based on the fact that the texts of the music genres were found to embody messages on the specified social concerns including health, literacy and family planning. Through the pre-test and post-test measures, it was verified that the messages propagated through the song texts resulted into acquisition among some study respondents. This further portrayed the communicative viability of Dodo and Nyatiti. In light of the above study findings, the recommendations made for possible implementation by relevant authorities included the need for; strengthening the formal integration of indigenous media including music within the set up of communication media in Kenya; formulation of a mass media strategy that would involve the development of an Indigenous Media Division to deal with the organization and evaluation of indigenous media activities throughout the country; practical applications of research findings of studies such as the present one, so as to be used as references in policy/decision making processes; promotion and support for the indigenous music performance, particularly at grass root levels where the genres serve as useful sources of information. Finally, suggestions were made for possible areas for further investigations. These included: comparative study on the level of mass media preferences among the rural population in Kenya, with regards to the print, electronics, music and other types of indigenous media; a study to determine the communicative capacity of various types of indigenous media including music, drama, poetry and stories in order to ascertain the most favourable local media for rural communities in Africa; study on compatibility of various indigenous media contents in relation to the prevailing social-cultural situations; assessment of the audience impact of the indigenous media such as music with regards to their capacity to enhance change in attitude and behaviour; and a study to determine relationship between preference of a specific type of indigenous media among a particular African community and the communicative efficacy of the genres
Use of Visual Illustration in the Interpretation of Proverbs in Secondary Schools in Kikuyu District, Kiambu County, Kenya
(2012-11-05) Kamau, Wango; Wallace K. Mbugua; Buckner K. Dogbe
The centrality of the current study was the need to establish whether visual Illustrations when presented together with text, increase the uptake of meaning in proverbs among the students in secondary schools in Kikuyu District. The method of interpretation of proverbs currently used in secondary schools is a linguistic one; meaning the usage of text alone. The current study, therefore, specifically sought to determine whether the effectiveness of visual illustration can augment the linguistic method in the interpretation of proverb content. This study was, however, anchored upon the basis that communal values, seen through and guided by a community's philosophy are enshrined in its culture. Proverbs have been described by many oral literature scholars as a sub genre that probably best underscores this philosophy. The current study, therefore, sought to examine the proverb as an avenue for the inculcation of social wisdom. In incorporating and reaching the body of youth, the current study used the regular or formal teaching and learning process. According to the current secondary school syllabus (KIE, 2003) proverbs are indeed taught in the secondary school curriculum. Subsequently, the field work of the current study was carried out in Kikuyu District of Central Kenya. A quasi- experimental design was applied where one group of students was exposed to proverbs in the linguistic form (control group) and other students in specified groups (categorized according to types of illustration) were exposed to proverbs in illustrated form (experimental groups). The data was both quantitative and qualitative. The basis of the theoretical framework was convergent theories where the main informative one was the visual literacy theory derived from the larger theories of communication. Other confluent theories were the pragmatic theory in Art; and Gestalt/Behaviorism/Cognitive theories that inform teaching and learning. The convergent concepts culminated in a conceptual model that is outlined in detail in the theoretical framework. The data was analyzed qualitatively in the case of written responses and quantitatively where responses culminated in percentage frequencies which were subjected to relevant statistical tests. The results of the current study indicated that visual illustration as a mode, when presented with text, aided the interpretation of proverbs in secondary schools to a significant extent in most types of illustration compared to text alone. The Chi-square computation for the overall percentage frequencies of the experimental versus the control showed that there was a significant degree of association between the use of illustrations combined with text and the responses in the interpretation of proverbs, and a further test of equality of proportions indicated that uptake of meaning occurred when illustrations combined with text were used against text alone. This subsequently indicated that visual illustrations combined with text were indeed a useful method of presentation and interpretation of proverbs. The current study therefore contends that since visual illustration alone does not effectively aid the uptake of proverbs, and that text alone is surpassed in the level of uptake by text accompanied by illustrations in most categories of the illustrations, then visual illustration combined with text is more effective than the linguistic method alone. The current stud, therefore, recommends the introduction of visual illustrations in the interpretation of proverbs in secondary schools.
Preservation and promotion of indigenous music in Uganda: A Challenge for Tertiary education institutions
(2012-11-05) Ereu, Ekadu Peter
Preservation and promotion of indigenous music through generations has depended on active practice guided by elders as the makers and practitioners of these genres of music. However, the presence of European Christian Missionaries, colonial administrators and Asian communities in the pre-independence period impacted the culture, local music and education system of the country, and started the downgrading of the practice of indigenous music. Such a negative attitude towards the indigenous music coupled with various other forces of change have continued to endanger the sustenance and existence of these genres of music if not conserved. The continuity of indigenous music requires its active practice in the institutions and communities where people live. This study takes the stance to assess curricula and programmes of the tertiary education institutions so as to establish their capacity and readiness to lead in the conservation of this invaluable part of Uganda's heritage. Finally the study proposes a "Living Indigenous Music" learning model with a philosophy meant to guide tertiary education institutions in redesigning curricula and programmes for the enhancement of active practice, growth, safe keeping and continuity of indigenous music. A number of recommendations meant to involve various government ministries to join tertiary education institutions in addressing the challenge have been recommended. Some of these recommendations include, among others, research on the brunt of over 20 decades of insecurity on the practice and preservation of the indigenous genres of music of the Acholi of Northern Uganda. There is also need for policy makers to organize intercultural gala, and redesign policies for the benefit of preservation and promotion of indigenous genres of music.
Rap music in the hip-hop culture among the youth in Nairobi
(2013-01-22) Amateshe, M.; Charles Nyakiti Oraawo; Washington Omondi
Since early 1 ~:NUs, the music industry in Kenya witnessed an exponential infiltration of Hip-Hop culture and its element of Rap music, which claimed significant space on the Kenyan popular music landscape. The youth demographic assimilated this genre and the culture that came with it and established on it a fanatical following and adherence. Being a cultural force, this study sought to establish its exact point and process of entry into the music practice in Nairobi. Further, the study sought to study the new cultural identities that emerged as result of the new cultural force. In the realization from review of related literature that negligible effort had gone into transcription of Rap music, the study moved to fill this gap by transcribing and analyzing stylistic developments in a representative sample of the Rap music that was eventually practised in Nairobi after the assimilation process. An Oral Interview Guide (OIG) was used on a purposive sample of 41 Rap artistes, 9 Rap Music Producers and 5 DJs. The study also accessed a random sample of 100 popular music listeners within Nairobi area. Text transcriptions of 34 Rap songs was carried out, out of which, 9 Rap songs were selected for Music transcription. Participant Observation (PO) was used in cases where data were available during live concerts. Non-Participant Observation was also used where situational dynamics called for it. Analysis of purposively sampled existing discography and videography added to the information sources accessed by this study. Data collected through oral interviews was analyzed by the use of descriptive statistics. The descriptive analysis was appropriate for this study because it involved the description, analysis and interpretation of origins of Rap music in Nairobi, identities projected through Rap music and Hip-Hop culture and style of Rap music as practiced in Nairobi at the time of study. Results indicated that the origins of Rap music in Nairobi were a process that could not be attributed to an individual. Rather, it was a process that was engendered through a collective participation by those who were exposed to a limited international media network existing in the early 1990s. The results also showed that various identities had been created by the youth to reflected tenets of the Hip Hop cultural force. However, from the music transcriptions carried out by this study, apart from language, musical style had changed very slightly. Rap music practiced in Nairobi was still largely patterned along the stylistic structures established by afro American originators and performers of the genre. The study therefore recommended that although artistes were free to explore and experiment with foreign Rap structures, there was need to strive to create a Rap music identity that could reflect Kenya's cultural diversity. In addition, the study recommended that since Hip-Hop culture had become an influential sub-culture, especially among the youth, there was need to explore strategies of harnessing this influence in communicating pertinent issues such as drug abuse, HIV / AIDS and economic empowerment among others. National communication and awareness policies too, . needed to find ways of entrenching Rap music in communication policies
Popular Music in Kenya:A survey and Evaluation of Performing Strategies among Selected Groups in Nairobi
(2013-03-20) Oyugi, Isaiah
This study focused' on Popular Music in Kenya. In their daily endeavors within the entertainment industry, Kenyan Popular musicians employ performance strategies meant to draw their audience closer and to maximize on their entertainment business opportunities. This study sort to evaluate some of the strategies adopted in order to assess their viability in the performance business. Artists in the entertainment field inevitably interact with various players in the industry, hence the I:' need to establish t~~jnfluence of these players in the numerous decisions that the ,:>.' artists make on a daily basis for them to remain relevant in the industry and to survive. Specifically, the study sought to establish the influence of the society on the music that is produced by the musicians, identify some of the demands that the audiences put to the musicians, establish how popular musicians are adapting to the ever changing performance environment and determine more result oriented strategies that musicians should focus on. The study was conducted in Nairobi. This is because Nairobi is viewed to be a more cosmopolitan City with a conglomeration of artists from all walks of life and nearly all parts of the country and beyond, who are both at their initial stages and those who have been in performance practice for a -.".:~.,~"'" longer period of time. The entertainment industry is also viewed to be thriving in Nairobi hence giving a replica,;~~~~sentation of other urban cities in Kenya. The population sampled included Di~k.jockeys (DJs) and Video-jockeys (VJs) from broadcasting stations and other entertainment establishments, event organizers and practicing popular artists. Purposive and random sampling techniques were used to arrive at the desired population. Qualitative data was analyzed descriptively, with emerging issues being discussed and related to the prevailing situations for better _ understanding. This study outlines the most current strategies as used in other parts of the world by popular artists and recommends the most adaptable ones to local musicians to better their business in the entertainment industry for growth of the industry and for progress in their preoccupation.
2-D Animation for Effective Communication with Children in Kenya: a case study of Githurai location, Kiambu County
(2013-08-12) Vikiru, George
Effects of Drawing Approach and Class Setting on Symbolism of Children's Drawings on Conflict Experiences: A Study of Primary School Pupils in Nairobi County, Kenya
(Kenyatta University, 2014) Wambugu, J. W
Though drawing is one of the methodologies of teaching conflict resolution within Peace Education, the structured drawing approach within group setting currently in practice is limiting in free expression of emotions by children on subjective experiences. This is due to the restrictive nature of this drawing approach and the distractive nature of group work that inhibits children's ability to concentrate on feelings. This denies the teacher access to affective data that can assist in transformative behaviour of the learner. In order to determine the most appropriate drawing approach and class setting that would enable children to express this affective data, this study investigated the effect structured and unstructured drawing approaches and individual and group class settings on symbolism expressed in children's drawings on conflict experiences. The theoretical framework guiding the study was a confluence of the emotionalist theory of art, micro theories of conflict and Piaget's theory of cognitive and affective development whose convergence was on symbolism as a means of expressing emotive information from the sub-conscious mind. Since the drawing tasks were experiential in nature, the research adapted an ex posta facto design within the framework of quasi-experimental study design to find out the effect of the independent variables upon symbolism, which was the dependent variable. Social cultural environment, drawing approach and class setting were the independent variables while symbolism expressed in the drawings was the dependent variable. Age, gender and socio-economic regions formed the framework for categorically analyzing data from the drawing contents. The study population was primary school children aged 7-12 drawn from low, middle and upper middle income regions of Nairobi County. Normal chi-squares were used to test the data since it was in nominal values. The findings of this study indicated that the social cultural environment influenced thematic expressions of conflicts and the kinds of aggressive behaviour depicted in the symbolism. Literal expression through physical modes and metaphorical characterization of the negative valence of conflict was significantly higher in unstructured drawings while individual class setting had the least peer influence on the expressed symbolism. The results indicate the need for teachers to consider the social cultural background of children when extracting affective data since it informs the symbolism. Results also showed that for free expression of feelings and ideas, children need an unrestrictive (unstructured) drawing approach and an individual class setting free from distractions. It is the recommendation of this study that draw-telling through unstructured drawing activities should be encouraged not just in art classes but across all subjects in the primary curriculum as a channel for children to express their feelings on conflict and other issues. Alongside this, teachers should consider individual class setting for purposes of creating an appropriate atmosphere for free expression of emotive content.
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.

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