Journal of Music and Creative Arts (JMCA)

Finding Peace and Resiliance in the Middle of a Debilitating Global Pandemic: The Stabilizing and Restorative Propensity of the Zilizopendwa Genre of Music

2025-01-29T14:33:15+00:00

This paper examines how a few selected zilizopendwa artists use their lyrics as a tool to address broader cultural and social issues in a bid to promote social change and stability. It traces the historical and re-contextualisation of zilizopendwa music into the literary scene in contemporary society. Zilizopendwa, in this case, is taken literary by Kenyans to mean "that which was loved". In the process of its enquiry, the study applies postcolonial theory, and by analysing a few selected song texts, the paper aims to portray the importance of this popular and timeless genre to the immediate society. The study then takes a qualitative approach in which the collection of data is done by transcription and translation of lyrics from radio, DVDs and television. It then undertakes a descriptive and analytical approach with the purpose of exploring the historical background of this musical phenomenon and its current contextualisation in the literary field. The study concludes that Zilizopendwa, acts as a therapy in stabilising the mind due to stress caused by covid-19 in Kenya. This was witnessed when the countries were imposing lockdowns and curfews as mitigation measures. Zilizopendwa portrayed the values that society places on the social role of music in purifying the mood when such calamity occurs. The study, therefore, recommends that more studies be done on the role of other genres of music, such as hip-hop, in mitigating COVID-19.

Music dualism: Political intolerance in Kenya and the Gen-Z movement

2025-01-23T13:13:04+00:00

The purpose of this study is to explore the dualistic nature of music as a cultural artefact and a political instrument in promoting socio-political change in Kenya, with a particular focus on the 2024 Generation Z (Gen Z) led protest in Kenya. Anchored on Cultural Resistance Theory (CRT), the study thematically analysed data from 31 participants obtained through online interviews. The findings revealed how music—especially protest songs—has evolved into a tool for promoting systemic political change, building unity, and increasing awareness. It emphasised the importance of music in social movements, demonstrating its ability to shape national identity and political discourse while also articulating resistance. The study demonstrates how cultural resistance through music can inspire future generations to struggle for justice and equality, underlining music's long-standing role in political reform. Despite severe official repression, including police violence and wrongful detentions, the movement has won important gains, including the repeal of a contentious financial bill and the pledge to reduce unnecessary government spending. This study emphasises the importance of music in social movements, demonstrating its ability to shape national identity and political discourse while also articulating resistance. Further to this, music has developed into a potent instrument for opposing hegemonic systems, elevating dissident voices, and promoting international solidarity when paired with social media. The study recommends further research on whether the commercialisation of protest music has led to losing its intended role as a tool for fighting social inequality.

Efficacy of cultural policy on appropriation of music and dance idioms: A case of Kamabeka music and dance of the Bukusu

2024-09-23T05:59:04+00:00

This study focuses on the interplay between a cultural policy and its efficacy in the regulation of the appropriation process of music and dance idioms. With a specific focus on Kamabeka music and dance of the Bukusu Community of Kenya, available scholarly investigations attest to the fact that previous studies focused on other aspects of the dance and less on the aspect of appropriation, hence resulting in a paucity of literature. The study was guided by a qualitative research design. The results revealed that appropriation is still ongoing, and its effects continue to undermine the socio-economic and cultural identity fabric of the Bukusu community. A lot of crucial cultural elements embedded in music and dance are fading away gradually and being replaced by others, some of which are from alien cultures. This threatens the traditional cultural embodiment of the Bukusu people. In conclusion, the current policy in its form is not capable of addressing the dynamics of appropriation underpinning Kamabeka music and dance. As a matter of societal interest, this study recommends that policymakers develop robust clauses to be included in the current policy to expand its scope and address matters of appropriation. In the absence of this, traditional Kamabeka music and dance will soon be extinct.

Digital literacy for musicians: Navigating music streaming services for independent artists in Kenya

2024-02-28T07:03:01+00:00

This paper explores the crucial role of digital literacy in the music industry, emphasising its specific relevance to independent artists in Kenya who rely on MSS for global exposure. The digitalisation of the music industry at the onset of the millennium has tremendously transformed the monetisation of music by not only granting artists unprecedented access to global markets but also enabling them to connect directly with their fans like never before. This transformation has prompted independent artists in Kenya to increasingly adopt music streaming services (MSS) as their primary platform for marketing and distributing their content. Therefore, digital literacy has become a vital skill that empowers artists to effectively utilise diverse digital tools, software, and MSS. Digital literacy equips artists with the knowledge to manage their online presence, engage with their audience on social media, and make data-informed decisions using algorithms, curation, and analytics. Through a combination of phenomenological primary research and secondary data sources, this study delves into the experiences of independent artists, shedding light on the challenges they face and the opportunities that MSS presents. By enhancing their digital literacy skills, these artists can increase not only their global reach but also their revenue streams, enabling them to thrive in the evolving soundscape of the music industry.

Poeme Elecroniqe fusion concept of nationalism in “Feel the Sounds of Kenya”

2024-02-23T10:49:50+00:00

This study sought to find out Poeme Elecroniqe fusion concept of nationalism in Feel the Sounds of Kenya. Edgar Varese, a French composer, is hailed as the pioneer of electronic music with his signature Poeme Eletronique composition, which was performed in 1958 in Brussels. Attributes of similitude with Edgar Varese's Poeme Electronique style have come to identify certain African contemporary music idioms. Transcending conventional sonic boundaries that have long defined the Kenyan music space, the piece Feel the Sounds of Kenya by CeeRoo exemplifies this innovative fusion concept of electronic elements with social-cultural schemas akin to the Kenyan nationhood, a blend of native nuances with technological progress. Using the content analysis method, the researcher analyses Poeme Electronique concepts in Feel the Sounds of Kenya with the aim of establishing the intersection between artistry and technology within the broader discourse of nationalism while propagating national consciousness. This is achieved by using Sofia’s model approach to examine CeeRoo’s Feel the Sounds of Kenya on both descriptive and conceptual analysis levels. From the analysis, it is clear that CeeRoo’s Feel the Sounds of Kenya exemplifies a perfect union of definitive cultural nuances with electronic music in a space that has long been defined by conventional musical schemas. This information provides a model of how music composers, listeners and performers in Kenya can use normative cultural schemas to augment the conventional musical parlance, grammar and vocabulary. The researcher recommends a contextual-conscious approach for music making, practice and education in Kenya for relevance.