LEADER 05564nam 2200709Ia 450 001 9910789813503321 005 20200520144314.0 010 $a1-283-00501-8 010 $a9786613005014 010 $a9987-08-108-8 010 $a9987-08-124-X 010 $a9987-08-112-6 035 $a(CKB)2670000000079651 035 $a(EBL)1134960 035 $a(OCoLC)830166522 035 $a(SSID)ssj0000487492 035 $a(PQKBManifestationID)11313502 035 $a(PQKBTitleCode)TC0000487492 035 $a(PQKBWorkID)10442787 035 $a(PQKB)10719081 035 $a(MiAaPQ)EBC1134960 035 $a(OCoLC)715160749 035 $a(MdBmJHUP)muse22029 035 $a(Au-PeEL)EBL1134960 035 $a(CaPaEBR)ebr10449906 035 $a(CaONFJC)MIL300501 035 $a(PPN)187339988 035 $a(EXLCZ)992670000000079651 100 $a20071006d2007 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 00$aSongs and politics in Eastern Africa$b[electronic resource] /$fedited by Kimani Njogu, Herve? Maupeu 210 $aDar es Salaam, Tanzania $cMkuki na Nyota Publishers ;$aNairobi, Kenya $cIFRA$d2007 215 $a1 online resource (421 p.) 300 $aDescription based upon print version of record. 311 $a9987-449-42-5 320 $aIncludes bibliographical references. 327 $aCover; Title page; Copyright page; Contents; Foreword; 1. Religious Versification: from Depoliticisation to Repoliticisation; 2. L'intellectuel populaire et l'imaginaire politique : Le cas de Joseph Kamaru; Kamaru, un prophe?te kikuyu chre?tien; La religion prophe?tique comme cadre de compre?hensiondu politique; Une pe?dagogie du changement; Une the?orie de la causalite?; Kamaru et le renouveau du nationalisme kikuyu; Un leader et pas un despote; Les e?lections comme mode populaire d'action politique; Les femmes et le nationalisme kikuyu contemporain 327 $aConclusion : Kamaru et les autres mises en sce?ne kikuyu de la nation3. Artistic Discourse and Gender Politics in the Gi?ku?yu? Popular Song; Approach and method; Roots in patriarchy of popular song expression; Patriarchal narrations; Entry of the Queen: the woman talks back; Conclusion; 4. The Poetics of Giku?yu? mwomboko: Narrative as a Technique in HIV-AIDS Awareness Campaign in Rural Kenya; Introduction; Socio-historical origins of Mwomboko poetry; Performance of Mwomboko poetry; Arrangement and dance movements in Mwomboko; Music and entertainment in response to HIV-Aids awareness 327 $aThe language of Mwomboko singers Conclusion; 5. Hip-hop in Nairobi: recognition of an international movement and the main means of expression for the urban youth in poor residential areas; From street "free style", to the studio, to the stage: the caseof Kalamashaka and MauMau camp; The beginning of hip-hop in Nairobi; Different influences; The beginning of success; Problems encountered; The rappers' hopes; Lyrics: the division between militant and non-militantrap; Language of choice; Major themes covered; Conclusion 327 $a6. Folk poetry as a weapon of struggle: an analysis of the Chaka Mchaka resistance songs of the national resistance movement/army of Uganda Introduction; Resistance process and mobilisation; 7. Ethnic Identity and Stereotypes in Popular Music: Mu?giithi79 Performance in Kenya; Introduction; Music and Identity; Stereotypes and Ethnic Identity; Cultural Nights; Mau Mau Lyrics; Conclusion; 8. Song and Politics : the case of D. Owino Misiani; Introduction; Luo music and the Kenyan political scene; Owino Misiani; Beyond Kenya: Misiani on governance in Africa 327 $aAnalysing the Kenyan political scene through music Change of tactic: from controversy to support for the Government; Return to controversy; Conclusion; 9. Orature of Combat: Cultural Aesthetics of Song as Political Action in the Performance of the Mau Mau Songs; The Aesthetics of Gikuyu Orature in the MauMau Songs; Song as Political Action; Song as Orature of Combat; 10. Resistance and Performance Dynamics: the case of busungusungu vigilantes' dance of the Sukuma of Tanzania; Introduction; The Sukuma and Sungusungu; Dance and song as a means of communication; Conclusion 327 $a11. Music and Politics in Tanzania: a case study of Nyota-wa-Cigogo 330 $aSongs and Politics in Eastern Africa brings together important essays on songs and politics in the region and beyond. Through an analysis of the voices from the margins, the authors (contributors) enter into the debate on cultural productions and political change. The theme that cuts across the contributions is that songs are, in addition to their aesthetic appeal, vital tools for exploring how political and social events are shaped and understood by citizens. 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