Mitindo mamboleo ya ubaadausasa katika nyimbo teule za jamii ya kikalenjin za karne ya ishirini na moja

Abstract

This study examined postmodernist styles in selected Kalenjin songs of 21st century. The research was conceived against the backdrop of a tendency that breaks away from the conventional Kalenjin songs. The selected songs at a glance would appear to be fragmented with no specific theme being addressed therein. In order to achieve the objective of the research, twenty four songs were chosen from the five Kalenjin subtribes, namely, Kipsigis, Nandi, Keiyo, Marakwet and Tugen. We hypothesized that the selected songs depicted postmodern styles and tendencies as a strategy to communicate the realm of the Kalenjin world as perceived by its subjects. The study enlisted the postmodern theory which contends that the attempt to explain social and cultural developments by means of a single account or a major narrative is no longer possible or acceptable and that ideas cannot express a historical reality. Instead everything is text, image and simulation. Data was sampled purposely using the two approaches: songs which were sung in the 21st century until August 2014 and those that exhibited postmodernist tendencies. Data was collected via transcription of recorded songs, confirmed by a native speaker to ascertain their accuracy and then translated to Kiswahili. The data was qualitatively analyzed using the tenets of postmodernism theory and presented in prose form.The study found out that, the postmodern styles that defined the selected Kalenjin songs of the 21st century are mini-narratives that are highly fragmented, intertextual and replete with pastiche. The used of mini-narratives in selected the Kalenjin songs texts served to counter established authoritative beliefs in religion, human institutions, education and political ideologies which oppress the masses. Fragmentation in the selected song texts were shown to be the preferred mode of presentation as the song texts relied on situational narratives as opposed to the grand narratives that found favoured with Aristotle and Plato. The study also found out that the selected song texts are highly intertexual as they cite other texts like Kalenjin oral narratives, proverbs, similes, Bibilical texts and Kenyan Constitution to buttress their messages. Lastly the used of pastiche was portrayed when specific Kalenjin song texts appropriated other Kalenjin song texts. This was mainly seen by use of similar words, statements and lines in the selected songs. Pastiche was also depicted when songs used same plot, flash back and a common technique where artists send greetings to specific funs. From these findings we concluded that the postmodern styles were of great importance in depicting postmodern tendencies in Kalenjin oral literature. The study makes a contribution to scholarship through the understanding of the postmodern styles used in Kalenjin songs and usage of Kiswahili language to explain them. Furthermore, the styles in the songs are identified and explained in detail hence creating an invaluable record for future reference.