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WORKING PAPER NEW SERIES

WINDOWS INTO OUR HERITAGE:

MUSIC IN THE KENYAN COMMUNITIES

Lydia Timona

Dipartimento di Economia “S. Cognetti de Martiis”

International Centre for Research on the

Economics of Culture, Institutions, and Creativity
(EBLA)

Centro Studi Silvia Santagata (CSS)

Working paper No. 6/2010

Università di Torino
 FIRST INTERNATIONAL WORKSHOP.
SILVIA SANTAGATA RESEARCH CENTRE – EBLA
TURIN (ITALY) 29-30 JANUARY 2010.

PAPER TOPIC:
WINDOWS INTO OUR HERITAGE:
MUSIC IN THE KENYAN COMMUNITIES.

By:

Lydia A Timona.
Research Scientist.

Organization:

National Museums of Kenya.

Country:

Kenya.

Contacts:

Email; [email protected].
Mobile number; +254 722828201
Introduction:

This paper will look into cultural common in music as a window to communicate to the
world on the rich heritage of Kenyan communities. Will look the commonness in musical
accompaniments, costumes, performances and how music is perceived by young
generation. The diversity of cultures to be discussed includes: Abaluhya and Luo tribes
of Kenya.

Overall Objective:

To communicate to the world on the cultural common in music and make them learn and
appreciate the heritage of the Kenyan people through their music.

Who are Luo People?

The people are called Jo-luo (the Luo people) and the language is called Dhaluo. They
primarily settled in the western part of Kenya and are the 2nd largest of all ethnic groups
in the country. The Luo are nilotic groups whose progeny includes the Acholi and Jo-
padhola in Uganda and Alur and the dinka, Anyuak and shiluk in Sudan. In the rural set-
up, Luo economic life revolves around subsistence agriculture, animal husbandry, and
fishing.

Who are Luhya People?

The Luhya are a Bantu ethnic group in Kenya, Uganda, and Tanzania. They constitute
Kenya's second largest ethnic group. The Luhya cultivate the fertile highlands of
Western Kenya, between Lake Victoria to the south. They are, traditionally,
agriculturalists, and they grow different crops depending on the region where they live
and are said to be the most culturally, politically and economically active ethnic groups in
Kenya.

The Luhya are made up of about 16 sub-ethnic groups in Kenya, each speaking a
certain Luhya language or dialect. The most dominant groups being the: Bukusu,
Idakho, Kisa, Isukha, Tsotso, Maragoli, Wanga, Anyore, Marama, Kabaras, Tachoni,
Khayo, Marachi, Tiriki, Nyala, and Samia. Linguistically, these sub-ethnic groups can be
grouped into different categories (dialects):

The Wanga dialect is spoken by the Wanga, Marama, Kisa, Watsotso, Kabras, Isukha,
Idakho, Nyore and Tachoni.

The Maragoli dialect is spoken by the Maragoli and the Tiriki.

The Bukusu dialect is spoken by the Bukusu, Gisu and Masaaba.
The Nyala dialect is spoken by Abanyala of Busia and those who emigrated to
Kakamenga popularly known as Abanyala ba Ndombi.
The Saamia dialect is spoken by the Saamia, Nyala (Busia), Khayo, Tura and the
Marachi.
How is cultural commons defined in these two communities?

As we know that culture is a way of life and that, is a way of conceiving or knowing about
existence, therefore culture happens in the way people think about themselves and
relate to each other and their environment. A dynamic that is fundamentally intangible.
Since cultural commons refers to cultures located in time and space, either physical or
virtual and shared by a socially cohesive community, cultural commons can be
recognized in living cultures as oral and intangible heritage of humanity. This means
identifying with other peoples and being in communion with them.

In this case, cultural commons between Abaluya and Luo communities in Kenya can be
seen in music as an expression of landmark cultural events such as famines, calamities
and other misfortunes.

Cultural Common among Luo and Luhya communities.

Luo and Luhya people liked dancing very much. Music was not made for its own sake.
Music was functional. It was usually done in the evenings, after meals, during funerals,
wedding ceremonies or beer parties etc. Young men enjoyed war dances. Luo young
men danced to the tune of orutu, a single stringed violin while Luhya young men danced
to the tune of Isiriri.

Music is used by both communities as:

1. A communication tool to express how various landmark events in the past are
conveyed through generations through music.
Example, commemoration songs among Luo about Luanda Magere in Luo land (the war
against Nandi community).

2. A reinforcement of human activities. Music has been used as reinforcement to

group efforts in war, games, hunting, harvesting, etc.
Example, music and dance were performed during sports like wrestling among the
Bunyala (Luhya sub-tribe) and Luo people. Lyrists and girls composed songs of praise
about them. These were organized games. Sometimes they do wrestling mainly when
people were looking after their cattle in the fields. Among the Luo, the kano people were
easily the best in wrestling.
Music is performed during work times. These are performed both during communal work
like building, weeding, etc. and individual work like pounding of cereals, winnowing.

3. Rites of passage. Music is used by both communities to celebrate births, initiations,

marriages, and deaths. These are very significant stages of life among the communities
and were always marked with celebration of some sort with musical accompaniment.

Marriage: In a successful Luo wedding, defloration of the bride takes place first. Inside
the house two young married men and two young married women remains with the bride
and groom in the room to witness the defloration. If she was found with hymen she was
declared virgin (also common with Swahili people of the coast), and the women of her
village immediately begin the celebrations with songs to praise her purity which
continues to her present village.
But if she was found without hymen, it was a moment of shame and the girls of the
village sing “an empty thing” which means in Dhaluo (Luo language) hududu fuong’. This
means a stigma with the girl all her life and will be thrown out by her co-wives any time
they quarrel.

On the other hand, at the defloration, if a man fails to perform, it is even more serious
than that of a girl because it can be sufficient ground for divorce.

According to Luo custom and tradition, the defloration ceremony was one of the most
important of all in the series which makes up the act of marriage and was always
accompanied with songs and dance.

Circumcision: Luhya practice male circumcision. The circumcision cycle among Tiriki
sub-tribe is repeated every 4 or 5 years, the candidate’s age varying between 13 and 25
years. After circumcision, the candidates are permitted to leave the house after 2
months. During this occasion, music and dance are performed and the candidates are
allowed to attend dances. They wear hoods during the ceremony made by their tutors.

During the performances, the candidates wear a head covering (headdress) made of
cowries shells and a ram’s horn as his emblem, a flywhisk made of cow’s tail and a coat
made of cow hide. A candidate receives a bull as a present during the occasion.

Luo do not practice male circumcision as an initiation rite. As a substitute, children used
to have their six lower front teeth removed at as an initiation.

Birth: ‘Mwana wa mbere’ song among abaluhya is sung in praise of the first born.

Death: Music is performed during funerals (Tero buru) among Luo to praise the
departed, to console the bereaved, to keep people awake at night, to express pain and
agony and during cleansing and chasing away of spirits.

Music is also used for ritual purposes like chasing away of evil spirits (nyawawa), who
visit the village at night, in rain making and during divinations and healing.

4. A medium of communicating societal values and virtues. Music has been used a
medium of expression of societal values and virtues such as beauty, respect, anger,
leadership etc. Example ‘Nyadundo pong regone gi ngege’ an expression song about
beauty among the luo.

5. A media of entertainment. In social places, old men and women danced vigorously
after drinking beer, Luo danced (Dudu, ohangla dance). They danced to tunes
composed of lyrists by famous lyre player wuon ogolo (Luo) and mbuwi Adam (Luhya).
Music instruments and costumes,

Among Luhya and Luo communities, music is played using different musical
instruments. They tune their instruments according to sounds of nature from the local
habitats such as waterfalls, bird sings, animal cries etc. These instruments are made
from natural materials like shells, bamboo, gourds, hide, reeds and horns and from re-
cycled materials such as tin, iron, wood and plastic. Children start making musical
instruments while they are still very young. They often do this when helping parents in
the shamba/garden or attending to goats.

The Luo are rich in traditional musical instruments, which vary from percussion, (e.g.,
drums, clappers, metal rings, ongeng'o or gara, shakers), string, (e.g., nyatiti, a type of
lyre; orutu, a type of fiddle), wind, (tung' - a horn, Asili - a flute, Abu - a specific type of
trumpet).

Presently, the Luo are known for the benga music style. It is a dynamic approach in
which songs in Dholuo, are sung alongside a lively guitar riff. It originated in the 1950s
with Luo musicians' trying to adapt their traditional tribal dance rhythms to western
instruments. The guitar (acoustic, later electric) replaced the nyatiti as the string
instrument. Benga is played by musicians of many tribes and is no longer considered a
purely Luo style.

Music instruments.

a) Rattles: Are made of flattened soda bottle tops and iron and used by both
communities.

Rattles made of fattened soda bottles and rope.

b) Shakers: Are made of wood, guards, plant seeds and soda bottle tops and used
by both communities.

Shakers made of guards and plant seed inside.

c) Orutu: It’s a one string instrument (played by Luo) made from tins, gourds and
wood.

d) Ishiriri: It’s a one string instrument (played by Luhya) made from tins, gourds and
wood.

e) Litungu: a traditional luhya seven-stringed lyre.

f) A flywhisk: made of cow’s tail.

g) Nyatiti: It’s an eight string instrument and mainly played by old men.

String instrument made of 8 strings, wood and skin.

h) Flutes and wind instruments: Are made from horns and wood.

A flute played by Luhya old man. A flute (Asili) played by Luo old man.

i) Drums: Are made from wood and animal skin especially of a cow and a goat.

Drums (bul) used by Luo people.

 j) Bell (echikengele): Is made of still and round in shape (played by Luhya).

Forms of Music played by Luhya Community.

· Sikuti dance(played by youths)

· Obukhano dance (played by old men)

Sikuti Dance.

Sikuti dance is very common among Luhya community and it is mainly played during
weddings and circumcision ceremonies. Sikuti music instruments comprise of 4
drums, ad 2 bell (echikengele). It is mainly played by young men.

Luhya youths playing sikuti dance using 4 drums of different sizes and
two round bell (echikengele).

Forms of Music played by Luo Community.

§ Nyatiti (Aton Mito)

§ Ramagi.
§ Orutu
§ Onanda (Oguta lie Bobo)
§ Ohangla (modern day artists e.g. Tony Nyadundo
Nyatiti Dance.

Luo men dancing a luo song as they play Nyatiti instrument.

Ramogi Dance.

Luo men in Ramogi dance-Kagan and Kochia (male dance in commemoration of a hero’s death
Costumes.

The cultural commonness in costumes among the Luhya and Luo communities were
special ropes made either of leopard skin or very highly decorated goat’s skin which
were worn by men on very special occasions. They decorated themselves not only to
appear beautiful but also to enhance their movements. Luhya men wore headdress
made of leather, cowrie’s shells and feathers. Luo men's costumes included kuodi or
chieno a skin worn from the shoulders or from the waist respectively to cover their
nakedness. Ligisa the headgear, shield and spear, reed hats, clubs among others.
Ladies usually use red and white clay to decorate them. All these costumes and
ornaments are made from local materials

Luhya old man wearing headdress. Luo man in a headdress (kondo) made of
feathers and Holding a flywhisk (orengo/riewo).

Luo women wore two separate sisal skirts (olembo and chieno). They really wore skins.
They also wear beads which they tie round the necks and waist and copper bangles on
their arms and legs when performing. Luhya women wore both skin and sisal skirts and
decorated beads which they tie round the necks and waist.

Conclusion:

As we experience the dynamism and change in any human socio-cultural setting, it is

the duty and expectation of researchers and music educators to contribute to the
process of putting in place structural policies to document, archive, perpetuate and
appreciate the beauty, and culture-specific roles of the diverse cultural identities
expressed through indigenous Kenyan music and dance. Once cultural performing and
creative arts are understood, appreciated, preserved and practiced acceptably, they will
accelerate the achievement of communal coexistence, and mutual national unity based
on sound foundations of diverse cultural identities. Music education should be taken
seriously at primary and secondary school levels. Traditional Kenyan music and dance
will only become valuable cultural identity treasures if they are seriously studied,
researched, theorized and practiced.
 FIRST INTERNATIONAL WORKSHOP.
SILVIA SANTAGATA RESEARCH CENTRE – EBLA
TURIN (ITALY) 29-30 JANUARY 2010.

PAPER TOPIC:
WINDOWS INTO OUR HERITAGE:
MUSIC IN KENYAN COMMUNITIES.

By:

Lydia Avikoke Timona.

Research Scientist.

Organization:

National Museums of Kenya.

Country:

Kenya.

Contacts:

Email; [email protected]
[email protected]

Mobile; +254 722828201

Introduction:

This paper will look into cultural common in music as a window to communicate to the
world on the rich heritage of Kenyan communities. Will look the commonness in musical
accompaniments, costumes, performances and how music is perceived by young
generation. The diversity of cultures to be discussed includes: Abaluhya and Luo tribes
of Kenya.

Overall Objective:

To communicate to the world on the cultural common in music and make them learn and
appreciate the heritage of the Kenyan people through their music.

Who are Luo People?

The people are called Jo-luo (the Luo people) and the language is called Dhaluo. They
primarily settled in the western part of Kenya and are the 2nd largest of all ethnic groups
in the country. The Luo are nilotic groups whose progeny includes the Acholi and Jo-
padhola in Uganda and Alur and the dinka, Anyuak and shiluk in Sudan. In the rural set-
up, Luo economic life revolves around subsistence agriculture, animal husbandry, and
fishing.

Who are Luhya People?

The Luhya are a Bantu ethnic group in Kenya, Uganda, and Tanzania. They constitute
Kenya's third largest ethnic group. The Luhya cultivate the fertile highlands of Western
Kenya, between Lake Victoria to the south. They are, traditionally, agriculturalists, and
they grow different crops depending on the region where they live and are said to be the
most culturally, politically and economically active ethnic groups in Kenya.

The Luhya are made up of about 16 sub-ethnic groups in Kenya, each speaking a
certain Luhya language or dialect. The most dominant groups being the: Bukusu,
Idakho, Kisa, Isukha, Tsotso, Maragoli, Wanga, Anyore, Marama, Kabaras, Tachoni,
Khayo, Marachi, Tiriki, Nyala, and Samia. Linguistically, these sub-ethnic groups can be
grouped into different categories (dialects):

The Wanga dialect is spoken by the Wanga, Marama, Kisa, Watsotso, Kabras, Isukha,
Idakho, Nyore and Tachoni.

The Maragoli dialect is spoken by the Maragoli and the Tiriki.

The Bukusu dialect is spoken by the Bukusu, Gisu and Masaaba.
The Nyala dialect is spoken by Abanyala of Busia and those who emigrated to
Kakamenga popularly known as Abanyala ba Ndombi.
The Saamia dialect is spoken by the Saamia, Nyala (Busia), Khayo, Tura and the
Marachi.
How is cultural commons defined in these two communities?

As we know that culture is a way of life and that, is a way of conceiving or knowing about
existence, therefore culture happens in the way people think about themselves and
relate to each other and their environment. A dynamic that is fundamentally intangible.
Since cultural commons refers to cultures located in time and space, either physical or
virtual and shared by a socially cohesive community, cultural commons can be
recognized in living cultures as oral and intangible heritage of humanity. This means
identifying with other peoples and being in communion with them.

In this case, cultural commons between Abaluya and Luo communities in Kenya can be
seen in music as an expression of landmark cultural events such as famines, calamities
and other misfortunes.

Cultural Common among Luo and Luhya communities.

Luo and Luhya people liked dancing very much. Music was not made for its own sake.
Music was functional. It was usually done in the evenings, after meals, during funerals,
wedding ceremonies or beer parties etc. Young men enjoyed war dances. Luo young
men danced to the tune of orutu, a single stringed violin while Luhya young men danced
to the tune of Isiriri.

Music is used by both communities as:

1. A communication tool to express how various landmark events in the past are
conveyed through generations through music.
Example, commemoration songs among Luo about Luanda Magere in Luo land (the war
against Nandi community).

2. A reinforcement of human activities. Music has been used as reinforcement to

group efforts in war, games, hunting, harvesting, etc.
Example, music and dance were performed during sports like wrestling among the
Bunyala (Luhya sub-tribe) and Luo people. Lyrists and girls composed songs of praise
about them. These were organized games. Sometimes they do wrestling mainly when
people were looking after their cattle in the fields. Among the Luo, the kano people were
easily the best in wrestling.
Music is performed during work times. These are performed both during communal work
like building, weeding, etc. and individual work like pounding of cereals, winnowing.

3. Rites of passage. Music is used by both communities to celebrate births, initiations,

marriages, and deaths. These are very significant stages of life among the communities
and were always marked with celebration of some sort with musical accompaniment.

Marriage: In a successful Luo wedding, defloration of the bride takes place first. Inside
the house two young married men and two young married women remains with the bride
and groom in the room to witness the defloration. If she was found with hymen she was
declared virgin (also common with Swahili people of the coast), and the women of her
village immediately begin the celebrations with songs to praise her purity which
continues to her present village.
But if she was found without hymen, it was a moment of shame and the girls of the
village sing “an empty thing” which means in Dhaluo (Luo language) hududu fuong’. This
means a stigma with the girl all her life and will be thrown out by her co-wives any time
they quarrel.

On the other hand, at the defloration, if a man fails to perform, it is even more serious
than that of a girl because it can be sufficient ground for divorce.

According to Luo custom and tradition, the defloration ceremony was one of the most
important of all in the series which makes up the act of marriage and was always
accompanied with songs and dance.

Circumcision: Luhya practice male circumcision. The circumcision cycle among Tiriki
sub-tribe is repeated every 4 or 5 years, the candidate’s age varying between 13 and 25
years. After circumcision, the candidates are permitted to leave the house after 2
months. During this occasion, music and dance are performed and the candidates are
allowed to attend dances. They wear hoods during the ceremony made by their tutors.

During the performances, the candidates wear a head covering (headdress) made of
cowries shells and a ram’s horn as his emblem, a flywhisk made of cow’s tail and a coat
made of cow hide. A candidate receives a bull as a present during the occasion.

Luo do not practice male circumcision as an initiation rite. As a substitute, children used
to have their six lower front teeth removed at as an initiation.

Birth: ‘Mwana wa mbere’ song among abaluhya is sung in praise of the first born.

Death: Music is performed during funerals (Tero buru) among Luo to praise the
departed, to console the bereaved, to keep people awake at night, to express pain and
agony and during cleansing and chasing away of spirits.

Music is also used for ritual purposes like chasing away of evil spirits (nyawawa), who
visit the village at night, in rain making and during divinations and healing.

4. A medium of communicating societal values and virtues. Music has been used a
medium of expression of societal values and virtues such as beauty, respect, anger,
leadership etc. Example ‘Nyadundo pong regone gi ngege’ an expression song about
beauty among the luo.

5. A media of entertainment. In social places, old men and women danced vigorously
after drinking beer, Luo danced (Dudu, ohangla dance). They danced to tunes
composed of lyrists by famous lyre player wuon ogolo (Luo) and mbuwi Adam (Luhya).
Musical instruments and costumes,

Among Luhya and Luo communities, music is played using different musical
instruments. They tune their instruments according to sounds of nature from the local
habitats such as waterfalls, bird sings, animal cries etc. These instruments are made
from natural materials like shells, bamboo, gourds, hide, reeds and horns and from re-
cycled materials such as tin, iron, wood and plastic. Children start making musical
instruments while they are still very young. They often do this when helping parents in
the shamba/garden or attending to goats.

The Luo are rich in traditional musical instruments, which vary from percussion, (e.g.,
drums, clappers, metal rings, ongeng'o or gara, shakers), string, (e.g., nyatiti, a type of
lyre; orutu, a type of fiddle), wind, (tung' - a horn, Asili - a flute, Abu - a specific type of
trumpet).

Presently, the Luo are known for the benga music style. It is a dynamic approach in
which songs in Dholuo, are sung alongside a lively guitar riff. It originated in the 1950s
with Luo musicians' trying to adapt their traditional tribal dance rhythms to western
instruments. The guitar (acoustic, later electric) replaced the nyatiti as the string
instrument. Benga is played by musicians of many tribes and is no longer considered a
purely Luo style.

Musical instruments.

a) Rattles: Are made of flattened soda bottle tops and iron and used by both
communities.

Rattles made of fattened soda bottles and rope.

b) Shakers: Are made of wood, guards, plant seeds and soda bottle tops and used
by both communities.

Shakers made of guards and plant seed inside.

c) Orutu: It’s a one string instrument (played by Luo) made from tins, guards and
wood.

d) Ishiriri: It’s a one string instrument (played by Luhya) made from tins, guards and
wood.

e) Litungu: a traditional luhya seven-stringed lyre.

f) A flywhisk: made of cow’s tail.

g) Bell (echikengele): Is made of still and round in shape (played by Luhya).

h) Nyatiti: It’s an eight string instrument and mainly played by old men.
 Nyatiti instrument made of 8 strings, wood and skin.

i) Flutes and wind instruments: Are made from horns and wood.

A flute played by Luhya old man.

 A flute (Asili) played by Luo old man.

j) Drums: Are made from wood and animal skin especially of a cow and a goat.

Drums (bul) used by Luo people.

Forms of Music played by Luhya Community.

• Sikuti dance(played by youths)

• Obukhano dance (played by old men)

Sikuti Dance.

Sikuti dance is very common among Luhya community and it is mainly played during
weddings and circumcision ceremonies. Sikuti music instruments comprise of 4 drums,
ad 2 bell (echikengele). It is mainly played by young men.

Luhya youths playing sikuti dance using 4 drums of different sizes and
two round bell (echikengele).
Forms of Music played by Luo Community.

ƒ Nyatiti (Aton Mito)

ƒ Ramagi.
ƒ Orutu
ƒ Onanda (Oguta lie Bobo)
ƒ Ohangla (modern day artists e.g. Tony Nyadundo

Nyatiti Dance.

Luo men dancing a luo song as they play Nyatiti instrument.

Ramogi Dance.

Luo men in Ramogi dance-Kagan and Kochia (male dance in commemoration of a hero’s
death.

Costumes.

The cultural commonness in costumes among the Luhya and Luo communities were
special ropes made either of leopard skin or very highly decorated goat’s skin which
were worn by men on very special occasions. They decorated themselves not only to
appear beautiful but also to enhance their movements. Luhya men wore headdress
made of leather, cowrie’s shells and feathers. Luo men's costumes included kuodi or
chieno a skin worn from the shoulders or from the waist respectively to cover their
nakedness. Ligisa the headgear, shield and spear, reed hats, clubs among others.
Ladies usually use red and white clay to decorate them. All these costumes and
ornaments are made from local materials

Luo women wore two separate sisal skirts (olembo and chieno). They rearly wore skins.
They also wear beads which they tie round the necks and waist and copper bangles on
their arms and legs when performing. Luhya women wore both skin and sisal skirts and
decorated beads which they tie round the necks and waist.
 Luhya old man wearing headdress

Luo man in a headdress (kondo) made of feathers and

Holding a flywhisk (orengo/riewo).
Conclusion:

As we experience the dynamism and change in any human socio-cultural setting, there
is need therefore to promote conservation and sustainable utilization of cultural heritage
through generation, documentation and dissemination of knowledge & information. This
can be achieved by enhancing activities in presenting research findings through
exhibitions as one of the most effective media for reaching the public.

Once cultural performing and creative arts are understood, appreciated, preserved and
practiced acceptably, they will accelerate the achievement of communal coexistence,
and mutual national unity based on sound foundations of diverse cultural identities.
Traditional Kenyan music and dance will only become valuable cultural identity treasures
if they are seriously studied, researched, theorized and practiced.