MST-School of Creative and Performing Arts, Film & Media Studies

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This collection contains abstracts and fulltexts of Master theses and dissertation in the School of Creative and Performing Arts, Film & Media Studies

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The Ab'atachoni theatre: its aesthetics and social significance
(2012-05-17) Karani, Solomon Kakai M
The aim of this study is to investigate the nature and character of the Ab'atachoni indigenous theatre forms as they are seen and observed today. At the core of this study is the search for viable definitions of the concepts of drama, theatre and performance. This study is further prompted by critical assumptions, which confine the concepts of drama and theatre to things like "script" and "a raised stage". The exploration of the Ab'atachoni theatre forms is an attempt to widen and deepen an awareness of the concepts of drama, theatre and performance beyond their "Tachonic" context. In other words, it is one of the key premises of this study that a good theory of art should have the potential of transcending its local or ethno-centric derivation. The central thesis of this study defines drama as a universal (abstract) human ability having a culture-specific elaboration. This central thesis, informed by a theatrical-linguistic model, also incorporates semiotic principles to study its object. This study is a product of observation and participation in actual performing situations. The study is structured as follows: Chapter One outlines the purpose and scope of the study. Chapter Two describes the social and aesthetic background of the Ab'atachoni community. Chapter Three examines the ritual-drama of okhusena omuse (herein referred to as omuse). This ritual-drama is analyzed as one of the genres of the Ab'atachoni theatre. in this performance, a ceremonial performer is invited to perform at the funeral ceremony of a Mutachoni elder on the second day after burial. Chapter Four describes and examines the dance-theatre of okhuuya. This dance-theatre is performed in honour of a Mutachoni elder on the first day after burial. Chapter Five describes and examines the narrative performance (olukano). A specific performance observed by this researcher is given to demonstrate how a performer selects from the narrative-matrix and gives the selected narrative theatrical uniqueness and liveliness. Chapter Six brings together the major arguments in this study. A link is established between the central thesis and the method of investigation. Three Appendices are provided. The First Appendix gives three narratives used as a part of the performances presented in Chapter Three (Omuse). The Second Appendix has two parts, the first part gives a sample of songs from the okhuuya ceremony referred to in Chapter Four and the second part has a selection of photographs taken at the okhuuya dance-theatre, performed in honour of Khisa King'asisa of Tongaren Division, Bungoma district. These reinforce specific points made in reference to this occasion in Chapter Four. The Third Appendix presents the narrative used as the basis for Chapter Five.
Adaptation of Traditional Music Idioms to Enhance Contemporary Music Styles: A Case of Selected Fusion Musicians in Kenya
(Kenyatta University, 2022) Ashene, Emmanuel Wanguba; Njoora, Timothy K.; Wanjala N. Henry
It is an assumed philosophy, that every musical idiom is, largely, defined by its cultural and sociological context. The use and function of traditional music world over has inherently been associated with audiences of different age sets influenced by beliefs for aesthetic experiences. However, with the increasing dynamics in music styles and diversified genres of music in the world today, musicians have discovered possibilities of developing and repackaging traditional music genres into new forms of authentic contemporary music to cater for new audiences. The main concern raised in this study sought to establish dynamics involved in crossing over of traditional music idioms into contemporary music styles through the processes of borrowing, incorporation, enculturation, integration and establishing the potential cultural identity risks encountered during the crossovers. The study was inspired by the need to understand how musicians engage in cross-cultural music, a process likely to reveal technical challenges in aspects related to compatibility, and hence possibilities of influencing the cultural significance. The main objective for this study was to identify and investigate the performance approaches used by fusion musicians in Kenya. The study was to also suggest a guide explaining how to incorporate traditional music idioms with contemporary music. The social exchange theory on tangible and intangible social activities as developed by Farganis was central in explaining the dynamics involved in the transformational process of music adaptation in this study. The study engaged fusion musicians who were actively involved in Kenya’s music performance scene. The locale of the study was Nairobi City County and its environs. The research technique entailed making use of scheduled interviews, observations of performances, administration and collection of questionnaires data from fusion musicians. A qualitative approach was used to analyze data related to the sample of fusion musicians to establish the outcomes, which helped to address the major study concerns. The Data collected was analyzed using thematic and content analysis to solicit responses to the study research questions.
The affective domain of music: factors affecting musical aesthetics among some Kenyatta University students
(2012-05-04) Muuya, Jacqueline
The purpose of the present study was to investigate which factors affect Music appreciation among Kenyatta University Students. A total of sixty respondents, aged between 17 and 25 years taken from the first year of study, were selected from six disciplines in the three faculties in the University, for the research sample. Data was obtained by means of a questionnaire, coupled with taped music specimen, as primary sources. Secondary sources included interviews, and behavioral observations. No scientific measurements of musical qualities were used for the study. Data obtained from the study revealed that the respondents preferred soft, soothing, easy-flowing, expressive music to loud, noisy music. Further findings revealed that the respondents' internal mood effects and facial expressions varied considerable between the periods prior to and immediately following the playing of the music excerpts used to test their aesthetic reactions. Additional findings revealed that Music was seen to be a means of communication and a vehicle of expression for various musical components including melody, rhythm, and texture. Music was also seen to consist of : (i) The production and appreciation of organized, pleasant sounds peculiar to every culture, and (ii) Sounds used to excite an individual's dreams, cultural expressions and experiences, and his perceptions about life. Generalizations can be made regarding persons of the same age-bracket even though these persons may not necessarily be University Students.
African art songs in Nairobi: investigating musical idiomatic expressions in performance practice
(Kenyatta University, 2017-10) Makobi, Sylvester Matete
The purpose of this project was to investigate musical idiomatic expressions in the performance of African art songs in Nairobi. The interest of the study came up after a voice recital was presented, and a variety of African and Western art songs were performed, but there was no clear distinction between the performance of the African and Western art songs. A cross section of the audience was in essence left wondering what could then define performance practice of an African art song. The study was guided by the following questions: (i) What are the characteristics of African art songs? (ii) How does the piano part enhance African musical idiomatic expressions in African art songs? And (iii) What is the performance practice of African art songs? “The African Pianism Theory” by Akin Euba and “The Theory of Musical Competence and Interaction” by Benjamin Brinner guided the study. The study was based on qualitative research method. Interviews and questionnaires were used to collect primary data from classical singers from Nairobi, composers of African art music, music heads and classical music educators. Secondary data was collected from library research and through content analysis of the selected African art songs performed during the recital, guided by an analysis schedule. The sampling methods used include purposive sampling and snowball sampling. The purposive sampling method was used for sampling the music heads. After getting interviews with the music heads, the snowball sampling technique was used in the rest of the study. The responses from the questionnaires and interviews were coded and analysed for detection of similarities and differences. The data was organized in line with research objectives. The study found out that the African art song is a growing genre and is approached from different angles. Some composers and singers lean more towards Western classical music; others lean towards African traditional music while others are in between. However, the African idiomatic expressions connected to African music include; the use of African languages or influences of African languages to the language used, use of African rhythms or rhythmic character, the simulation of African instruments, the use of performance practice borrowed from African traditional music such as costume and dance, dialogue between the piano and voice for instance by the use of solo/ call and response, repetition of phrases and verses, the use of African melodies and harmony through direct borrowing or adaptation and arrangement of folk songs or the use of African scales. The findings of this study are useful to music scholars, music curriculum planners, vocal pedagogy teachers, voice teachers, vocal coaches and classical singers. Some of the recommendations of the include; first, creation of more workshops and lecture recitals for African art song composers to share ideas on how to unify the genre and for students and the public to get more acquainted to the genre. Second, documentation and more publishing of African art songs. Finally, further investigation on how the intricate rhythms of African art songs are transcribed, such as ululations, yodelling and chants.
Afro-Classics from Kenya: a special case of the Luo: 1. Nyar Jodongo, 2. Orutu Overture.
(2012-05-08) Ogalo, Elly Osote.
The study aims at establishing various aspects of Western music that could merge with aspects of Luo music to objectively produce arrangements and compositions of Afro-classic works. Aspects of the two cultures were identified, established, and merged. These included melodic line, intervals, rhythms and note groupings. Some aspects of music that were necessary from the works but were absent in music of either culture were incorporated. For example, harmony, dynamics, notation, bars and bar lines, time signature and tempo (Western); speech rhythm and syllabic accents (Luo). Chapter One, the general introduction deals with the statement of the problem, objectives, rationale, scope and limitation, theoretical framework, literature review and methodology. Chapter Two discusses composition as an art in music creation. Chapter Three is the creative arrangement, Nyar Jodongo; the choral work. In the work attention has been put on the syllabic accent and intonation, which govern the pronunciation of Luo words. The voice parts are written to adopt the traditional flow of the Luo syllables. Chapter Four is the creative composition, the Orutu Overture. This is an instrumental work where the luo and Western musical aspects are merged. Finally, Chapter Five gives a brief summary and conclusion on the merger of the Luo and Western musical aspects for arrangements and compositions.
Akamba sculpture as a means of visual communication: its origins, development and functions
(2012-05-10) Muoko, Matthews
This inquiry investigates the origins, the use, the development and the rationale of sculpture among the traditional and the contemporary Akamba Societies. It further investigates those factors within the environment which influenced the artistic skills, competence and orientations for the total creation of the sculptural forms and designs. The study's main hypothesis is that sculpture was made, used and existed among the traditional Akamba societies before the first world war of 1914 to 1918, which many scholars refer to as the beginning of this art amongst the Akamba. Further hypothesis states that the demand for sculpture sprung from the Akamba Cultural needs and therefore the art was used as a means of cultural expression alongside dances, riddles, tales, songs and wise sayings. The study looks into the availability and choice of raw materials and the constructions of the various sculptural properties such as size, form, and topic. It further looks into the sculpture's functional characteristics and the possibilities for innovations. Some of the shortcomings of the previous studies are discussed and their contribution and setbacks assessed. The major difference between these early works and this inquiry is that while these early investigations tried to cover the Akamba arts in general this study confines itself to sculpture. Data collection procedures used are: (a) Oral interview. (b) Observations. (c) Drawings. (d) Photography. Fifty-one specimens of Akamba traditional sculpture are studied, described and used as illustration for this study. Problems arising from these proceedings are outlined and the ways employed to solve them stated. The main hypothesis is upheld and the evidence to support it presented using specimen photographs, drawings and data charts. Lastly, recommendations and measures to be taken by particular groups of people in order to improve the usage of the Akamba sculpting skills and products are outlined. These recommendations are based on observations and data implications. The inquiry stresses the adoption and integration of traditional and modern ideas and values in order to create a positive attitude in observers towards sculpture. Specifically this inquiry seeks to fulfill the following objectives: (a) To determine the extent to which sculpture was and is used by the Akamba with a view to suggesting effective use and practice of sculpting. (b) Explain the factors which hinder the effective use of this art. (c) Find out the main instructional value contained in sculpture. (d) To establish sculpture as a means of instruction/communication in educational institutions and public. (e) To recommend new strategies for the utilization of scupting skills.
Analysis of Elements of Drama in Selected Performances Staged during Kenyatta University’s Culture Week Festival, 2013
(Kenyatta University, 2021) Muriuki, David O. G.; Shikuku Emmanuel Tsikhungu; Wangari Mwai
Culture Week at Kenyatta University is an annual festival that has been on the university’s official calendar since 1992. It is a festival that is open to all genres: recognized, newly created and pseudo. The number of entries it attracts is both vast and varied. The aim of this study was to identify, analyse and describe the elements of drama in sampled cultural activities and examine the impact of socio-cultural context and technological advances on the selected performance items. The study applied Ethno poetics theory in textual analysis to appraise both form and content of performance to the fullest extent possible. Qualitative research design has been adopted, using single case study method. This facilitated a holistic view of performance and isolated the embedded units for analysis. Kenyatta University’s Culture Week attracts large and varied numbers of entries. The study isolated and categorized performance items, namely drama, dance and poetry. Categorization in drama was based on genre. For dance it was based on the dichotomy of contemporary and traditional, and in poetry it was based on language. The purposive sampling method was then used to sample from the three categories to isolate specific items including drama, poetry and dance. Participatory observation during performances provided primary data, with the festival records providing secondary data. Pictures, videos, audio records and checklists were used as tools to capture data for the study. The study found that the elements of drama such as plot, action, dialogue, symbolism, theme and genre were used in the selected staged performances in KUCW Festival. It was also found that both the literary and technical elements of drama came into play. The literary elements of drama displayed in different performances during the KUCW include plot, style, and exposition and costume while the technical elements of drama included: scenery, costumes, props, sound and makeup. The materials used in the performance portrayed different cultures. Costumes and composition of the actors were all informed by different traditions. The study finally found that technological elements such as stage craft, stage machinery, sound and new fabrics influence stage performances during the KUCW. It recommends that in as much as technology is being adopted in the rendition of the stage performances, caution needs to be taken to ensure that the original messages are still passed. It further recommends that another study be done in other settings such as the Bomas of Kenya to assess the current dynamics in stage performances.
Analysis of Narrative Form in Three Kenyan Fiction Video Films
(Kenyatta University, 2015-10) Maina, William Mureithi
Research has identified poor quality and unprofessionalism as factors that limit the appeal of Kenyan video films (Kenya Film Commission, Audience Consumer Trends Survey, 2010). This study investigates the problems that Kenyan films face in trying to “break down the wall preventing Kenyan films from being shown and celebrated beyond Kenyan borders” (Justine Edwards, 2008, p. 2). It does this through an analysis of three video fiction films by three local filmmakers: Wandahuhu‟s ‘Njohera’ („Forgive Me‟), Simon Nduti‟s ‘Kikulacho’ („What Bites You‟) and Simiyu Barasa‟s ‘Toto Millionaire,‟all which have been made under the banner of a Kenyan film industry that is informally known as Riverwood. The objectives of the study is to examine the narrative character or these homegrown video films by analyzing them against the classical film form conventions as a benchmark so as to determine how the Kenyan filmmakers‟ narrative choices affect communication of meaning. The study is basically guided by the constructivist theory of film criticism which is founded on the tenet that it is the reader (viewer) of the film text that constructs the story and meanings in the story using the clues that the filmmaker puts before him on the screen. Given the broadness of field that is the Kenyan video film practice, and that not much is known concerning its fiction film‟s narrative form, this study opts for explanatory case study as its research design. This design lends itself conveniently to the study‟s chosen methodology of detailed interpretive textual and contextual analysis of the said films and their relationships. Although this limits (without eliminating) the study‟s capacity to generalize its findings, the least that can be hoped for from these few examples of fiction film videos selected is a light, however bright, shone at the anarchic world that is the Kenyan – and by extension African – video film industry. The filmmakers and the specific works that form this research‟s case studies have been selected using expert and purposive sampling, respectively, to arrive at a sample that the researcher considers as representative of the typical Riverwood feature film, made by Kenyans and expressing a Kenyan consciousness. What stands out in the findings of this research is the illustrational character and functionality of the Kenyan video film, which cuts across the narrative and its constitutive elements. This is to say that as opposed to the classical film model that forms this study‟s benchmark, the Kenyan video film does not consider a freely-unfolding story as the core unifying factor in filmic story-telling. What matters is what point the narrative makes, whether at isolated points of its narration, or with specific narrative elements it uses, or with its overall message. These findings, the researcher hopes, will prove useful in the development of theory and practice of Kenyan film as it aspires to contribute its unique voice to the global cinema, and appeal to an audience whose filmic sensibilities have largely been shaped by previous exposure to the classical mode of filmic storytelling.
The Appropriation of the Alienation Effect by Selected Theatre for Development Troupes in Kenya
(2013-07-23) Were, Daniel K.
This study examined the use of Brecht‟s concept of the alienation effect by selected theatre for development troupes in Kenya. It emerged that theatre for development is mainly used by nongovernmental organizations for grassroots development. Nonetheless, several deficiencies at the level of practice and technique hinder theatre for development from realizing its ultimate potential. These deficiencies were mainly attributable to the inability of theatre for development practices to espouse the alienation effect. This would have otherwise enhanced the ability of theatre for development to attain conscientisation and ultimately development. This study therefore examined the use of the alienation effect by selected theatre for development troupes in Kenya. In this context, I identified and evaluated the appropriation of the Brecht‟s alienation effect by Amateur, Sanaa and House of Courage theatre troupes. I also assessed the challenges that hindered these troupes from effectively appropriating Brecht‟s alienation effect. The methodology adopted was through participant observation where I attended three performances by each troupe and observed the use of these techniques in the performances. I also carried out interviews with the performers, the audience, and theatre resource persons for a critical appraisal. The findings revealed that the three troupes appropriate some elements of the alienation effect, although some of the performances fell short of realizing the alienation effect. From my analysis of the performances and the challenges arising thereof, I make recommendations on improving the theatre for development practice in Kenya.
Art Music Contributions Inspired By Kenyan Folksong Repertoire: A Case of Innovation Drawn From Samia Children Songs
(Kenyatta University, 2019-06) Buyiekha, Esther Petronila
Today, influences such as globalization, urbanization and technology have led to fast-changing trends in music. Often, social occasions that were traditionally set apart with a view to learning and engaging with cultural activities such as children game songs and other types of songs have been replaced with other social activities such as media entertainment, sports, holiday travel and other contemporary activities. One of the negative outcomes of modernization and urbanization is that former social activities for instance, performing game songs, story-telling and role modelling become less attractive and practice of such activities gradually becomes extinct. Yet, this oral tradition is a powerful tool for the transfer of societal knowledge, skills and values, which should, therefore, be preserved for future generations. However, to counter this negative development, some composers have created folk–based works for public sharing. From the review of related literature, it was evident that in Kenya, little effort had gone into composition of art music inspired by children folk songs. The aim of this study was to fill this gap through collection, transcription and analysis of selected children folk songs which were further used to create art music works. The study aimed to explore Western classical musical features compatible with Samia idiom to enable creation of art music, examine dominant features from Samia children folk music for compositional and arrangement ideas, and expose selected Samia children folksongs to the world of art music. The development of this new culture of art music had to however preserve the identity of children folk songs. Review of related literature covered: Childhood experiences with music, the role of music in the traditional culture and composition as a creative process. The study was conducted in Samia District of Busia County. The target population was Samia culture bearers, primary school teachers who trained children to perform folk songs for competitive and non-competitive festivals, pupils who participated in children folk songs, composers of art music, and children folk songs. Snowball and Purposive sampling were used to collect children folk songs from rural locations among children who currently participated in Samia oral tradition. Data were collected by use of questionnaires, interview schedules, focus group discussion, observation schedules, and recorded via tape and video recorders. Data analysis was approached through melodic, rhythmic and harmonic content in children folk music. Interviews were analyzed through reading and re-reading, comparing and scrutinizing respondents' written verbatim transcripts to identify recurrent themes. The study revealed that there were a lot of similarities between Western classical and African music idioms. In addition, Samia children folk music had dominant musical features which enabled the composition of art music. The compatibility of Western and African music idioms enhanced the fusion of the two cultures in the composition of art music. The study also established that majority of composers had not written art music based on children folk music compared to adult folk music. The study, therefore, was expected to promote and propagate art music based on children folk songs for posterity.
The art of stage directing: a case of three Kenyan directors
(Kenyatta University, 2018-05) Kahuro, Kevin Kimani
Abstract This study interrogates the directing techniques/styles used by three Kenyan stage directors: Joseph Murungu a guruin the Schools and Colleges and Universities Drama Festival director, Sammy Mwangi of Heartstrings Entertainment and Andy Ruri of Sparks Theatre Company. The study examines how these directors use their directing techniques to convey thematic concerns, and the factors influencing the techniques/styles used. The study has been informed by the Auteur Theory – a theory that is appropriated in theatre studies – which refers to the director as the author of a film/theatre production. The theory argues that the point of view – and the implementation of the point of view of a dramatic production – comes almost entirely from the director rather than from a writer, the audience or the text. The study used observation of rehearsals and the performance, recording of the production and interviews as the primary means of data collection for analysis and interpretation. Textual analysis was applied to the recorded texts. Secondary data was obtained by sourcing materials from the libraries, online, published and unpublished works that are related to the study. This study foregrounds that directors with academic background and vast research in theatre have a wide and rich range of directing techniques, and thatKonstantin Stanislavski system acting is the most common acting style used in Kenya. This study also establishes that theatre directors try to influence the society by addressing the vices that affect the people and society at large.
Artistic changes in the development of the Catholic Church vestment in the archdiocese of Nairobi Kenya
(Kenyatta University, 2015-10) Ameleya, Habby
The rich history of the Catholic Church vestment in Kenya is likely to be lost if it is not documented as most faithful do not know the origins, changes or significance of the vestments. Thus, Christians may not appreciate the artwork in the vestments that symbolize the historical background of the Catholic Church. The general objective of this research was to identify and establish the symbolism of designs, colours, and form attached to the Kenyan Catholic church vestments from 1950 to date. The study adopted both quantitative and qualitative research approaches and employed a descriptive survey study research design to assess catholic vestments in Kenya. The target population of this study was 288 vestments of the Catholic Archdiocese of Nairobi. Simple random sample and purposive sampling methods were used to arrive at the representative sample. The data was collected through primary and secondary methods of data collection. The data was analyzed qualitatively by observation of the changes over the period according to themes derived from the objectives. The findings of this study showed that there have been changes in the vestment design over the period. These were changes in design, colour, form, and new methods of adorning the vestments. From this research the researcher proposes a further study to be done in other regions and on specific communities, and that the trained artists should partner with the vestment designers to maintain high quality design work on vestments.
Aspects of Cinema in Narrative Based Video Games: Analysis of Sony Interactive Entertainment Video Games
(kenyatta university, 2023) Manono, Franklyne Mudulia; John Mugubi; Eliud Situma
Video games have evolved over time and are attracting attention and criticism both positive and negative from all corners. The ability and potential of video games as an art form has spurred discussions and arguments in equal measures. Modern narrative based video games seem to have more semblance to film than any other narrative media and are considered as being cinematic. It is thus the aim of this study to interrogate the integration and influence of cinema to these narrative based video games. Based on formalism film theory, which deconstructs a text by looking at the individual elements that bring out the form, and semiotic film theory, which studies signs and creation of meaning, the study aims at critically analyzing the aspects of cinema deployed in the making of modern video games. The study looks at video games from the angle of cinema in terms of narrative, cinematography and lighting, which are the foremost basic tenets of cinema. Four Video Games published by Sony Interactive Entertainment; The Last of Us (2013) developed by Naughty Dog, Until Dawn (2015) by Supermassive Games, Uncharted 4: A Thief’s End (2016) by Naughty Dog and God of War (2018) by Santa Monica Studio were purposively selected for the study. The study applies qualitative research design using both primary and secondary data collection techniques. Observation and analysis of books, articles, journals and reviews of related literature available are used for data collection. Content analysis then applies to synthesize data. The study finds out that indeed modern narrative based video games are on a quest to be cinematic by applying aspects of cinema in their design, though not exactly the same way, but based on principles of cinema. Modern video games not only apply these aspects of cinema, but also employ the skills of film professionals in their design. The study concludes that video games need to do more in effectively applying aspects of cinema in their design to appeal to players in both narrative and gameplay.
Availability and use of teaching and learning resources for music education in Kenya: a survey of secondary schools in Nairobi province
(2012-04-20) Digolo, B.A.
This study investigated the availability and use of teaching and learning resources for music education in secondary schools within Nairobi province of Kenya. The study was necessitated by an urge to carry out an in depth investigation on the state of teaching and learning equipment and facilities in the schools in order to establish the limitations that hinder their acquisition and utilization. Specifically, the study sought to; a). Determine what resources were available for teaching and learning music in the secondary schools. b). Find whether the available resources were adequate for use by the students and teachers. c). Establish the extent to which the available instructional materials were used in the teaching and learning process. d). Determine factors that affect the acquisition and use of the teaching and learning resources; e). Ascertain whether any relationship existed between the use of instructional resources and students learning and achievement in music. The study targeted the head teachers, music teachers and music students. A total of 26 head teachers and deputy head teachers, 27 music teachers, and 330 music students participated in the study. The simple random sampling technique was used in selecting the respondents that participated in the study. Data was collected from the respondents using three types of instruments, namely, questionnaires, interviews, and observation. The data was analyzed using frequency tables, percentages, and the chi-square (x2) test. The frequency tables and percentages were used in analyzing the availability, adequacy, and use of the instructional resources. Variables such as teacher qualification, experience, attitude and student achievement were subjected to the chi-square (x2) test to determine their relationship with the use of instructional resources. The major findings of the study revealed that essential teaching and learning resources for music education were either inadequate or not available at all in most of the secondary schools. The insufficiency of the resources was established to be a serious drawback to student learning and achievement. Lack of competence among some music teachers hindered proper utilization of the instructional resources. In light of these findings, recommendations for improvement and further course of action by appropriate authorities were made.
Availability and utilisation of traditional material culture in fashion design
(Kenyatta University, 2015-01) Okeyo, Jacqueline A.; Orchardson-Mazrui, E.; Ombura, A.
The diverse cultures of many Kenyan communities may have not been explored adequately when it comes to the utilisation of traditional material culture for Fashion Design. This study sought to explore the availability and utilisation of material culture of some Kenyan communities as a source of inspiration in contemporary Fashion Design. The objectives of the study were to analyze material culture used by Fashion Designers in Nairobi, Kenya and also to identify the challenges facing the Kenyan Fashion Industry in relation to cultural significance. The study was anchored on two theories of fashion: ‘The Language of Cloths' by Lurie (2000) and ‘Power and Style' by Gaulme (2013). The first theory explains that clothing is a form of communication while the second explains the evolution of costume. The conceptual framework illustrates how Contemporary Fashion Design (Dependent Variable) can be inspired by Material Culture (Independent Variables) with the design being influenced by historical and contemporary influences (Intervening Variables). A descriptive research design based on an historical approach was used to provide both quantitative and qualitative data. The secondary data was sourced from The National Museums of Kenya, The National Archives and Institutional Libraries all based in Nairobi. Primary data was collected using questionnaires and face to face interviews. The secondary data gave historical information on the availability and utilisation of Kenyan material culture sourced from different Kenyan communities while primary data gave information on the utilisation of material culture on contemporary Kenyan Fashion. The target population was sourced using stratified and snowball sampling methods. The selected population consisted of College/University students, Formal and informally employed consumers and Fashion Shops/Houses that produce and sell culturally-inspired products. The primary data was analysed using descriptive statistics in three stages: data reduction, data display and conclusion drawing. The findings of this study indicate that material culture, as a source of inspiration, has not been adequately utilised in Kenyan Fashion Design due to a variety of reasons. Therefore the overall recommendation of this study is to sensitize both the Kenyan market and the Fashion Industry on the availability and utilisation of material culture as a source of inspiration for contemporary Kenyan Fashion Design and the Kenyan Fashion Design Industry in general
Bukusu litungu music: an aalysis, arrangement and creative composition
(2012-02-01) Masasabi, Abigael Nancy
The purpose of this study was to identify the fundamental characteristics of litungu music, arrange Bukusu litungu music and compose a creative work based on the litungu music idiom. Interviewing performers of litungu music and arrangers of Kenyan folk melodies, the characteristics of litungu music were identified and the arrangements were analyzed identifying their main characteristics as performed during the annual Kenya Music Festival. These characteristics were used to arrange a litungu music piece of festival standard and compose a creative work in the litungu idiom.
Catholic Centredness in Selected Plays Presented at Kenya National Catholic Drama and Music Festivals, 2015
(Kenyatta University, 2019-05) Kinyua, Charles M.
The Kenya National Catholic Youth Drama and Music festival is an annual festival whose idea was mooted in the year 2000 by the Kenya Conference of Catholic Bishops. It is an event whose theme is derived from the Pope's message to the youth and then customized to fit the Kenyan situation. The main purpose of this event is to motivate the young people into the work of evangelization using their creativity. Cognizant of the fact that young people are the majority in every congregation, the Catholic Church has put in place a number of media to evangelize them. Evangelization by the young people by use of theatre reaches out to where the young people are, both physically and in their life situation, and offers a genuine response to their yearnings. Evangelization provides opportunities and conversations that deepen young people’s relationship with God, encouraging them to live as disciples and discover Christ’s invitation to full sacramental relationship with Him. Young People are to be encouraged and assisted to use many and varied creative means, drama and music inclusive, always seeking to build a bridge between the ancient faith and the contemporary world, between the tabernacle and the street, between cathedrals and theatre halls. This is the objective of the Catholic Church in establishing the Kenya Catholic Drama and Music Festivals. However, the question that needs to be answered is this; how does the Festival achieve this purpose? Are the items in the festival Catholic-centred? This is a qualitative research that used content analysis of the data that was gathered through observation, viewership and close reading of the performances and the performance texts of three (3) plays that were presented during the 2015 edition of the Kenya National Catholic Drama and Music festivals held in Embu diocese in December 2015. This study was based on theatre performance theory as propounded by Richard Schechner and supported by Eli Rozik as well as religious theatre theory as propounded by Kevin Wetmore. From a Performance Theory standpoint, this study examined; how the performance-texts made meaning in respect to the issue of Catholic centredness within the parameters of the Catholic Church. And using the religious theatre theory, it sought to interrogate how the plays were faithful to the Catholic way of evangelization. The study hopes to contribute useful and valuable knowledge in the area of theatre and the church in Kenya and elsewhere. Such knowledge will be valuable because little in-depth study has been carried out in this area either in Kenya or elsewhere.
Challenges Faced By Music Learners with Cerebral Palsy: A Case of Joy Town Secondary School for the Physically Impaired, Kiambu County, Kenya.
(Kenyatta University, 2019-05) Kiburu, Elizabeth Wangui
This study was designed to investigate the challenges facing music learners with cerebral palsy (CP) in Joy Town Secondary School for the physically impaired in Kiambu County Kenya. It had been observed that interest in learning music diminished among learners with cerebral palsy as they proceeded from form one to form two. This prompted the interest to carry out a research on the causes of these changes in interest in music for these learners. The study investigated the challenges that led to the loss of interest in music among learners with CP in Joy Town Secondary School for the physically impaired. It sought to identify challenges and ways of sustaining music interest in learners with CP in this school. Joy Town was selected as it is the only special secondary school that offers music as a subject in Kenya. It currently also accommodates learners with physical challenges including CP. The concern was to interrogate the reasons why their musical interest changed as they got to form two. The main objective was to seek for information on how these learners could be assisted to overcome the challenges they faced in pursuing music in Secondary School. To achieve this objective, the study employed a descriptive research design because it sought to get a clear picture of the situation, attitude and behavior of individual students with CP. The study was guided by the Education theory of interest (1983, 1992) and Alderfer – ERG theory of learning (1969). These are significant theories in addressing the interest in learning and motivation of learners respectively. It was also guided by Human Rights model that builds upon the spirit of universal Declaration of Human Rights which declares that all human beings are born free in right and dignity. The study considered an estimated target population of 197 students and 17 teachers. However it was noted that not all students suffered from CP, therefore a non-probabilistic sampling technique was applied to select a sample of 48 students for the study. The sample size also included 17 teachers. Data was collected through interviews and questionnaires. The data gathered was analyzed using qualitative approach and the findings presented using tables, charts and graphs where it was applicable. To compute the data the statistical package for the social sciences (SPSS) was used for data analysis. Challenges faced by CP learners included: lack of appropriate music foundation for this group of students in the primary school, complex subject content considering their physical challenges, teachers, parent/their peers, attitude towards them pursuing music, a wide syllabus and limited time in teaching and learning music. Recommendations included: re-evaluation by policy makers and curriculum developers; to restructure the music curriculum to make it compulsory and examinable from the primary school; to adapt the music syllabus in order to accommodate the needs of learners with CP; Ministry of Education science and Technology through music educators and musicians to sensitize parents, teachers and students on the importance of music in schools and especially to learners with CP. The conclusion was that the challenges faced by music learners with CP influenced their interest in music and this in turn discouraged them from pursuing the subject. However with the various strategies put in place they could be assisted.
Cinematographic Techniques of Hilary Ngweno’s The Making of a Nation
(Kenyatta University, 2016) Irungu, Francis Mwangi
Just in the same way the African history was reconstructed through such elements as archaeological sources, oral traditions among others, Hilary Ngweno‘s The Making of a Nation documentary film series used the same principle to reconstruct Kenya‘s political history through cinematographic elements such as archival materials (still photographs and a few video clips). The former has already become an academic discipline while the later is attracting an academic attention beginning with this study. This study sought to critically explore the various cinematographic techniques deployed in Hilary Ngweno‘s The Making of a Nation documentary series. The specific focus of the study is the establishment of cinematographic styles and characteristics in Hilary Ngweno‘s films. The study also examines the role of cinematographic techniques in these films. Finally, it analyses thematic and narrative development in the episodic films. The study uses formalist film theory as its apparatus in analysing the films. The film theory is concerned with design and form of shots composition. Formalist films persuade viewers to see things the way the artist sees them. The sample size is the fourteen (14) episodes of Hilary Ngweno‘s documentary series. The specific focus is the examination of how the narratives have engaged formalistic tendencies and thus their efficacy and reliability on archival resources for reconstruction of Kenya‘s political history. This study is qualitative research deploying the case research design. Qualitative research explores attitudes, behavior and experiences. It attempts to get an in-depth opinion from participant(s). Reading and interpretation of pictures (films) is subjective and therefore based on attitudes, behavior and experiences. The researcher watched the films and recorded down their various aspects in relation to the study objectives. This helped to identify the various cinematographic elements which is the main focus of the study. Data analysis capitalized on textual analysis to yield information relevant for film studies and policy formulation in respect to archival film techniques. The filmmaker uses especially still photograph shots to create other various shots which include extreme close ups, close ups, medium shots, zooms-in, zooms-out, among others. The close up shots dominate in all the episodes in the documentary film series and have been used to show reactions among various political players and create emotional attachment to the viewers. They help to bring viewers closer to the subject (s) covered. The camera angles have been used to show political supremacy where political machinations and counter machinations involving political figures is also a subject of this study. The study made two recommendations; (1) recommendation for more documentary film series and (2) recommendation for further research.
Colour As a Communicative Tool in Film: An Analysis of Selected Kenyan Drama Films
(kenyatta university, 2023) Mwangi, Brian Thuo; John Mugubi; Evelyn Hongo
The use of colour in film can be classified into three different levels: the physical (how colour can affect the viewer by appealing to them), the psychological (how colour might fuel psychological responses) and the aesthetic (how colours can be chosen selectively according to the effect they can create in the film). The researcher investigated the three features of colour and how they were used in the selected films to discuss the role of colour in cinema. The selected films for this study are The Distant Boat (2013) directed by Andy Brown, The Marshal of Finland (2012) directed by Gilbert Lukalia, and Nairobi Half-Life (2012) directed by Tosh Gitonga. The objectives of this research were; to identify how colour components have been applied in the selected films, explore how colour has been used to fuel psychological responses in the selected films, and interrogate how colour interacts with other visual elements in the selected films. This study used two theories for analysis: Audience reception theory and Semiotics theory. This study employed a qualitative research methodology by way of a qualitative content analysis of the selected films. The sample size for this study was two focus groups of 12 respondents that included film students drawn from Kenya Film School and a lay audience comprised of members of the support staff. The respondents were selected through purposive and random selection respectively. The instruments of data collection for this study were questionnaires, observation guides for the focus groups, and an observation guide for the researcher. The study found that colour is a key communicative tool in film. Colour holds aesthetic value and communicates distinct ideas to the audience. This study has highlighted the importance of colour in film communication. The study has shown that saturation, desaturation, black and white, and hue are crucial components of colour in film. Furthermore, the study has demonstrated the interaction of colour with other visual elements such as lighting, set, and costume design. The study has also highlighted how colour psychology influences audience reception, with different individuals interpreting colours differently based on their background, age, beliefs, and experiences. Filmmakers can use this knowledge to enhance the communicative power of colour in their films and create more effective and engaging visual narratives.

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