framing gender in kirundi radio drama ninde in burundi

Abstract

This study is situated within the broader context of edutainment programmes in East Africa. Specifically, it is an analysis of the conceptualization of framing of gender through the medium of dramatic sound. It examines how radio Ninde ‘visualizes’ masculinity (ies) and femininity (ies) and power relations as part of the conscientisation agenda on the gender problematic in Burundi. The research questions that the study answers are: how is Ninde framed as a radio play form to popularize and enhance its reception?; what are the ways in which authors of Ninde imagine the gender problematic and how do they use language to visualise it?; how do masculine and feminine differences surface through the points of view, concerns, space allocation and values presented in the narratives?; and, what do these narratives suggest as resolutions to the gender conundrum? The study employs Erving Goffman’s concept of framing whose major premise is that particular frames instil a specific worldview in peoples’ minds through priming and making a piece of information more noticeable, meaningful, or memorable to audiences. Goffman’s concept of framing is blended with Judith Butler’s idea of performative dimension of gender where she argues that everything, power relations inclusive, depends on how we perform our gender and so it is possible for individuals to change their performance. The two theories help to explain and illuminate how masculinities and femininities are framed through performance and to examine implications that framing gender and sexual values in a play form have towards generation of meaning(s) in the process of construction of gender reality. The study is qualitative and uses gender-based performance framing as critical discourse method of ten Ninde episodes, and concludes what follows. First, Ninde is framed as a theatre of the mind whose main purpose is to correct people by means of satire especially its inflection, the ridicule. It relies on dialogue, the comedic, exaggeration, metaphor and a formulaic approach, often one that simply contrasts characters of good moral standing against those of dubious repute to influence the gender imagination of its audiences. Second, Ninde demystifies the past glorified image of male through debunking myths of gender superiority and inferiority. Third, characterization in Ninde helps to recognize complexities of masculinity and femininity where they are defined as a series of shifting and fluid subjects rather than fixed and static ones. Characters’ performances affirm that there is no necessary relationship between one’s gender performance and one’s sex as had been previously thought of by essentialists. Fourth, Ninde projects a democratic vision of gender relations in the building of the modern family. The framing of gender in the sampled narratives revolves around the encapsulating proverb ‘Ivyari imagera vyarageruye’ (Circumstances have changed) which supports the claim that change is inevitable. From the analysis of the episodes, it is evident that in performance, gender is fluid, flexible, unstable and therefore changeable, with possibility of gender-switching in heterosexual context. The episodes analysed defy and undermine the earlier deterministic notions and understanding of gender.