Dissertations

THE CONSTRUCTION OF GENDERED IDEOLOGY IN ALCOHOL, BHANG, AND SEX REFERENCED KENYAN POPULAR MUSIC

Read the book Cite this book Share this book

Authors

SAMWEL KIPSANG
DOI: https://doi.org/10.57054/codesria.pub.1415

Keywords:

GENDERED IDEOLOGY ALCOHOL KENYA POPULAR MUSIC

Synopsis

The purpose of this research was to understand construction of gender ideology and power relations in alcohol, bhang, and sex referenced Kenya popular music. The study described the role and the characteristic of alcohol, bhang, and sex referenced Kenyan popular music in construction of gendered representations, examines the modes of representation of men and women in the music, and explain textual strategies of composition in music that that have been used to construct and legitimize gendered representations. This is a descriptive qualitative study because it analyses data without trying to establish the relationship between listening to the music and the consumption of the substances and involvement in sex. Fairclough’s strand of critical discourse analysis was used, both as a theory and as a method of analysis because it provides theoretical
foundation and specific methods for analysis of discursive practices. Purposive sampling was used to select 17 alcohol, bhang, and sex referenced Kenyan popular songs sang by artists Jua Cali, DNA, Jimwat, Pilipili, Mejja, DNG, Kenrazy Kaya and Le Duq, Shuttle, Prince Moroko, Chelele, Camp Mulla, Idris, Jones, Fujo Makelele, Rich, POP, and Lavati, that have been played on Kenyan FM stations between from 2000 to 2015. The 17 popular songs were selected expressly on the basis of their gender representations, or the way they construct relations between men and women. The period in which the music was sang was choosen because it was the time when there was a burst of alcohol, bhang, and sex referenced music. The focus was mainly on lyrics composed by male artists. Two songs that were composed by female artists were analysed to see if they also construct gender ideology. Data collection was done by using the internet to search for and download music lyrics (both audio and transcribed lyrics). Though CDs or DVDs of alcohol, bhang, and sex referenced Kenyan popular music could be bought, internet was used as a tool to search and download MP3 (defined as audio of a song that has been compressed into a very small place, to enable digital storage and transmission) versions of the songs because most Kenyan popular songs are available on the internet and they can be accessed with ease. The songs were then transcribed and analysed. The findings of this research revealed that alcohol, bhang, and sex referenced Kenyan popular music, through articulation of a variety of discourses legitimize alcohol, bhang, and commercial sex, and in the process construct gendered ideologies and power relations. The findings also reveal various modes of gender representations and certain textual strategies used to construct gendered representations.

Statistics

views
47
Downloads
5

Citations

Google Scholar

References

  1. Atanga, Lilian Lem (2010). Gender, discourse and power in the Cameroonian Parliament.Cameroon: Langaa RPGG.
  2. Barkley, D. L. (2007). Kaya Hip-hop in Coastal Kenya: The Urban Poetry of UKOO FLANI: Retrieved on May 5, 2012 from digital collections. Sit.edu/tgi/viecontent.egi? article=1107…isp…
  3. Barker, C. (2008). Cultural Studies. London: Sage
  4. Barker, C. and Galasinski, D. (2001). Cultural Studies and Discourse Analysis: A Dialogue on Language and Identity; London.
  5. Calhoun, L. R. (2010). “Will the Real Slim Shady Please Stand Up?”: Masking Whiteness, Encoding Hegemonic Masculinity in Eminem’s Marshall Mathers LP”. Howard Journal of Communications 16.4 (2005), 267 – 294
  6. .Campell, H. (2000). The glass phallus: Pub(lic) masculinity and drinking in rural New Zealand. Rural Sociology, 65.
  7. Chandler, R. C. (2013) Meme World Syndrome: A Critical Discourse Analysis of First World Problems and Third World Success in Internet Memes. An MA in Communication submitted to the Nicholson School of Communication at the University of Central Florida.
  8. Chiappello, E., Fairclough, N (2002). Understanding the new management ideology: a transdisciplinary contribution from critical discourse analysis and new sociology of capitalism. Discourse and Society, 13 (2): 185 – 208.
  9. Ewens, G. (1991). Africa O-ye! A celebration of African music. New York: Da Capo Press.
  10. Fairclough, N. (1989). Language and Power. London: Longman.
  11. Fairclough, N. (1992a). Discourse and Social Change. Cambridge, UK: Polity Press
  12. Fairclough, N. (1992b) Discourse and Social Change. Cambridge, UK: Polity Press. Fairclough, N. L.
  13. (1995). Critical discourse analysis: The critical study of language. Harlow,
  14. UK: Longman.
  15. Fairclough, N. (1995a). Critical Discourse Analysis. London: Longman Fairclough, N. (1995b). Media
  16. Discourse. London: Edward Arnold.
  17. Fairclough, N. (1999). Linguistic and Intertextual Analysis Within Discourse Analysis. In A.
  18. Jaworski & N. Coupland.
  19. Fairclough, N. (2001). Language and power (2nd ed.). New York, NY: Longman.
  20. Fairclough, Norman (2009). Language and Power. London: Longman. Fairclough, N. (2010). Critical
  21. Discourse Analysis. Harlow: Pearson.
  22. Fairclough, N., & Wodak, R. (1997). Critical Discourse Analysis. In T. A. van Dijk (ed.), Discourse
  23. Studies: A Multidisciplinary Introduction: Vol. 2. Discourse as Social Interaction. London, UK:
  24. Sage Publications.
  25. Faludi, S. (1999). Stiffed: The betrayal of the American Man. New York: William Morrow.
  26. Fischer, R., & Dike (1993). A theoretical overview and extension of research on sex, gender, and entrepreneurship. Journal of Business Venturing, 8 (2), 151 – 158.
  27. Frith, S. (1987). Towards an Aesthetic of Popular Music. In Leppert, Richard and McClary, Susan (eds), Music and Society: The Politics of Composition, Performance and Reception. Cambridge University Press. PP 133 – 149.
  28. Kellner, D. (1995). Media Culture: Cultural Studies, Identity and Politics between the Modern and Postmodern. London: Reutledge.
  29. Leonardo, M. and Elizabeth, D. (2007). Feminism for Stupid Girls: A Feminist Rhetorical Critique of a Popular Song by Pink. Conference Papers – National Communication Association, 1 – 5.
  30. Martin, A. L. (2001). Alcohol, Sex, and gender in late Medieval and Early Modern Europe.New York: Palgrave.
  31. Martin, S. H. (1991). Popular Music in Urban East African: From Historical Perspective to a Contemporary Hero. Black Music Research Journal, Volume II, No.1
  32. Martino, S. C. (2006). Exposure to Degrading Versus Non Degrading Music Lyrics and Sexual Behaviour Among Youth in Pediatrics 118(2).
  33. McCland, D. C., Davis, W. N., Kalin, R., & Warner, E. (1972). The Drinking Man: Alcohol and Human Motivation. New York: Free Press.
  34. McQuail, D. (2005). McQuail Mass Communication Theory. (5ᵗʰ edition). London: Sage Publication.
  35. Miklitsh, R. (2006). “ Beethoven”, Chuck Berry, and Popular Music in the Age of the MP.” Roll Over
  36. Adorno: Critical Theory, Popular Culture, Audiovisual Media. Albany: SUNY Press, 43 – 59.
  37. Middleton, R. and Manuel, P. (2001). Popular Music. In Grove Music Online. Oxford University Press. Retrieved on November 2, 2016 from oxfordindex.oup.com/…/978156159263…
  38. Mulvey, L. (1975). Visual Pleasure and narrative cinema. Screen 16 (3), 6 – 18)
  39. Mwangi, E. (2004). Masculinity and Nationalism in East Africa Hip-Hop Music. Tytskrift Vir Letter Kunde 4.Chouliaraki, L & Fairclough, N. (1999). Discourse in Late Modernity: Rethinking Critical Discourse Analysis. Edinburg: Edinburg University Press. Click, M. A. and Kramer, M. W. (2007). Reflections on a Century of Leaving: Gendered Differences in Mainstream Popular Songs. Popular Communication 5 (4), 241-142. Lawrence Erlbaum Associates Inc. Retrieved on
  40. www.coas.missouri.edu/~communication/sites/default/files/reflection-on-a-century-of-living.
  41. Suggs, D. N. (2001). “These young chaps think they are just men too”. Redistributing masculinity in Kgatleng bars. Social Science and Medicine, 53.
  42. Taillon, P. M. (2002). “What we wand is good, sober men”:, Masculinity, respectability, and temperance in railroad brotherhoods, c. 1870 1910. Journal of Social History, 36.
  43. Tracy, K; Martinez-G., Robles, J.S., & Casteline, K. E. (2011). Critical discourse analysis and (U.S.) communication scholarship: Recovering old connections, envisioning new ones. In C. Salmon (Ed.), Communication Yearbook 35 (pp. 240 – 286). New York: Routledge.
  44. Ungaretti, J. and Etchezahar, E. (2013). Gender Role Identity According to Sex Acceptance of Women Rights and Gay marriage. International Journal of Humanities and Social science vol. 3 No.15; August 2013.
  45. Urban Dictionary. Retrieved on April 24, 2016 from www.urbandictionary.com/define
  46. van Dijk, T. (ed.) (1997a). Discourse as Social Interaction: A Multidisciplinary Introduction.Vol. 2. London: Sage.
  47. van Dijk, T. (1998). Ideology: Multidisciplinary Approach. London: Sage.

Downloads

Dissertation

Published

February 12, 2016

Language

English

Series

Dissertations
Copyright (c) 2016 CODESRIA Books Publication System

Details about this monograph

Physical Dimensions

Cite this book

APA KIPSANG, S. (2016). THE CONSTRUCTION OF GENDERED IDEOLOGY IN ALCOHOL, BHANG, AND SEX REFERENCED KENYAN POPULAR MUSIC. CODESRIA. https://doi.org/10.57054/codesria.pub.1415

For LaTeX, JabRef For Zotero, Mendeley, EndNote
Other citation styles

Chicago KIPSANG, SAMWEL. THE CONSTRUCTION OF GENDERED IDEOLOGY IN ALCOHOL, BHANG, AND SEX REFERENCED KENYAN POPULAR MUSIC. Dakar: CODESRIA, 2016. https://doi.org/10.57054/codesria.pub.1415.

MLA KIPSANG, SAMWEL. THE CONSTRUCTION OF GENDERED IDEOLOGY IN ALCOHOL, BHANG, AND SEX REFERENCED KENYAN POPULAR MUSIC. CODESRIA, 2016. https://doi.org/10.57054/codesria.pub.1415.

Share this book

Send by email WhatsApp LinkedIn X Facebook

More in this series

See all