The challenge of nationhood: a collection of speeches and writings
In: African writers series 81
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In: African writers series 81
In: Europäische Perspektiven
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World Affairs Online
In: African affairs: the journal of the Royal African Society, Band 63, Heft 250, S. 6-12
ISSN: 1468-2621
In: African affairs: the journal of the Royal African Society, Band 63, S. 6-12
ISSN: 0001-9909
In: The new leader: a biweekly of news and opinion, Band 44, S. 13-14
ISSN: 0028-6044
In: The new leader: a biweekly of news and opinion, Band 43, S. 3-5
ISSN: 0028-6044
In: Africa today, Band 5, S. 6-10
ISSN: 0001-9887
In: Current history: a journal of contemporary world affairs, Band 31, Heft 184, S. 343-347
ISSN: 1944-785X
In: Social dynamics: SD ; a journal of the Centre for African Studies, University of Cape Town, Band 45, Heft 3, S. 395-409
ISSN: 1940-7874
In: Foreign affairs, Band 41, S. 650-658
ISSN: 0015-7120
In: Foreign affairs: an American quarterly review, Band 41, Heft 4, S. 650
ISSN: 2327-7793
In this paper I discuss the relationship between popular music and cultural identity through a reading of the story of the early career of the Kenyan guitar–based dance music called benga. Genre theory guides the reading. Bringing into interplay basic elements of the early story of benga (on which there is a general consensus) and historical facts of the context in which it emerged, I show that the genre was at the moment of its origination a musical articulation of the cultural identity of a generation of Kenyan Africans of the Luo ethnic group who lived through the late colonial Kenya and into the early years of the country's Uhuru, Independence. At the heart of the reading is an exploration of the origins and deployments of the practices and technologies that came together at a particular time and place and in specific social and political conditions to constitute benga.
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