morin2012
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Morin, Matthew McNamara: |
CONTENTS
List of Figures xiii
List of Musical Examples xvii
Abstract xx
1. Introduction: Composing civil society 1
1.1 Purpose and Argument 1
1.2 Theory: Positioning a theory of ethnographic contingency 7
1.3 Research methodology: A contingent ethnographic method 13
1.4 Literature Review 21
1.5 Background 33
1.6 Chapter outline: A contingently structured text 43
Part 1
2. NGO development, Kenyan music culture, and global NGO music industry initiatives 47
2.1 Introduction 47
2.2 NGO Culture Development 49
2.3 NGO music culture contexts 57
2.3.1 The international popular music industry and
the spread of NGOs into Africa 57
2.3.2 Historical contexts of NGO-oriented music culture
in East Africa 59
2.3.3 Civil Society-oriented music organizing in East Africa 60
2.3.4 Civil society ethos in East African music performance 62
2.3.5 Music as protest 66
2.4 Conclusion 67
3. Civil society discourse formations:
Mapping Nairobi’s NGO music culture-scape 69
3.1 Introduction 69
3.2 Locating NGO music culture 70
3.3 Classificatory criteria 73
3.4 International organizations 79
3.5 Kenyan-based organizations 89
3.6 Conclusion 105
4. Economies of rememberance: NGO initiatives for the relocalization of East African popular music 106
4.1 Introduction 107
4.2 Decline: Destabilization of the mainstream Kenyan popular
music industry 108
4.3 Adapt: Strategies of music production and NGO economy 110
4.4 Rise: NGO music culture networks 116
4.5 Remembrance: Advocacy for past and present local
music culture 118
4.6 Conclusion 121
Part 2
5. Interlude:
Situating Part 2, a monograph of Ketebul Music 124
5.1 Introduction 124
5.2 Introducing a fieldwork-based study of Ketebul Music 125
5.3 Ketebul Music, a brief overview 127
5.4 Ketebul Music, afro-fusion, world music discourses, and
musicological critique 135
5.5 Conclusion 138
6. Contingencies of life experience in memory:
Reflections of founder and executive director, Tabu Osusa 139
6.0 Conceptual signpost 139
6.1 Introduction 139
6.2 Individual as agent of cultural change 141
6.2.1 Childhood and polycultural influence 142
6.2.2 Early migrations:
Preparing a life of continual reinvention and relocation 143
6.2.3 Individualism and agency:
Musical protests at the seminary 145
6.2.4 Resilience and resolution 146
6.2.5 Musical apprenticeship: Journey to Kinshasa 149
6.2.6 The Virunga years:
Recollections of Tabu Osusa and Samba Mapangala 151
6.2.7 Music and politics 160
6.2.8 The immigrant experience:
Life in the United Kingdom and returning to Kenya 161
6.2.9 Seeds of the afro-fusion movement:
Formation of Nairobi City Ensemble 162
6.2.10 HIV/AIDS and a lost generation 164
6.2.11 Music studio as culture weapon:
The formation of Ketebul Productions 166
6.2.12 Commercial to nonprofit: Ketebul Music turns NGO 168
6.3 Conclusion 169
7. Social contingencies of organizational identity:
The music of Makadem and Olith Ratego 170
7.0 Conceptual signpost 170
7.1 Introduction 171
7.2 Constructing afro-fusion: The first Ketebul Music artists 172
7.3 Makadem 174
7.4 Olith Ratego 193
7.5 Conclusion 205
8. Social politics of institutional partnering:
The spotlight on Kenyan music initiative 207
8.0 Conceptual signpost 207
8.1 Introduction 207
8.2 The development of the spotlight on Kenyan music initiative 208
8.3 Socio-institutional convergences of genre construction 209
8.4 Marketing cross-cultural: Volumes one and two 211
8.5 Bridging divides and reconciliation:
Volumes three, four, and five 213
8.6 Social politics and institutional partnerships 216
8.6.1 Alliance Française 216
8.6.2 Alliance Française, Kenya 217
8.6.3 Ketebul Music 221
8.6.4 Kenyan department of culture 226
8.6.5 Sponsors and marketing:
The French embassy and Total Oil 228
8.6.6 The 9th European Development Fund grant 232
8.7 Conclusion 238
9. Studio ethnography:
The “sound” of Ketebul producer, Jesse Bukindu 240
9.0 Conceptual signpost 240
9.1 Introduction 240
9.1.1 Studio ethnography 241
9.2 The creation of Gargar and Somali identity in Kenya 243
9.3 The production of Garissa Express (2011) 246
9.4 Digital production and (ethno)musicological representation 248
9.4.1 Vocal segmentation 250
9.4.2 Instrumental infusion 252
9.4.3 Signifying foreign locals and parallel otherness 257
9.4.4 Fusing “traditional” and “modern” 258
9.4.5 Post-production 259
9.5 Conclusion 261
10. Documentary film production at Ketebul Music:
Molding postcolonial historical discourse 262
10.0 Conceptual Signpost 262
10.1 Introduction 262
10.1.1 Synopsis of retracing the benga rhythm (2008) 264
10.1.2 Synopsis of retracing Kikuyu popular music (2010) 265
10.2 Social processes of historical documentary production 266
10.2.1 Funding 266
10.2.2 Forging lineages of african discourse 267
10.2.3 Media production and self-directed mentorship 270
10.2.4 Research and information gathering 271
10.2.5 Post-research 275
10.3 From process to product: Textual analyses of retracing
the benga rhythm (2008) and retracing Kikuyu popular
music (2010) 278
10.3.1 Subversion of popular discourse in retracing
the benga rhythm (2008) 279
10.3.2 Polyvocality in retracing the benga rhythm (2008) 281
10.3.3 Reconciliation and cultural hybridization in retracing
Kikuyu popular music (2010) 284
10.4 Conclusion 287
11. Conclusion:
Locating meaning in contingent realms of global culture 289
11.1 Introduction 289
11.2 Balancing broad and specific, macro and micro,
global and local 290
11.3 Deconstructing representation 291
11.4 A Contingency-induced pragmatically reflexive statement 292
Appendices 296
A. Extended transcriptions of analyzed recordings 296
B. Human subjects approval 303
C. 9th European Development Fund 2010 Vital Voices And Culture:
Increasing People’s Participation in Good Governance and
Development call for proposals (CFP) 304
D. Oral sources 309
References 312
Biographical sketch 330
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