| dc.description.abstract |
This article discusses Okatch Biggy's practice of benga. The article defines the music form called benga. On the foundation of that description, the article describes Biggy's ‘voice’, his music style, and highlights the innovations that the artiste has brought to benga. The article argues that through this style, and quite apart from the verbal content of the music (which the article does not discuss), Biggy effectively communicated with and constituted his primary audience, the Luo of the 1990s. By situating Biggy's music style in the socio-political context of its production the article brings to light a reason for the popular acceptance of Biggy's music by the Luo of the 1990s, that is, the value of the music in the fabrication and consolidation of Luo nationhood at a period of heightened ethnic awareness. |
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