FROM THE ROOTS TO THE VIBE: TRANSLATION OF FOLK MUSIC FROM NAIROBI CITY TO ĨROMBA SUITE

Abstract

Historically, folk music has acquired different meanings, interpretations, and identities as it is recontextualized through translation. For instance, folk music has been associated with rural regions in Kenya. The perception stemmed from British colonialists who regarded rural districts as custodians of indigenous traditions and urban areas as ‘detribalized.’ Urban popular genres were perceived as foreign, though rooted in indigenous styles. Currently, musicians in the city subvert these stereotypes by creating and performing traditional music. On this premise, I interrogate folk music practice in Nairobi, focusing on how it is translated through popular genres. Compositional materials are also gathered from Nairobi to create a modern suite, Ĩromba, establishing that the city is not ‘detribalized’ but upholds traditions like rural regions. I made inquiries to enable me to (i) analyze popular styles that are based on folk music genres in contemporary urban Kenya, (ii) identify specific folk music styles, elements, and techniques used to create folk-based music in the city, (iii) identify compositional elements and studio production techniques used in creating folk-based styles that are considered intercultural, and (iv) compose Ĩromba suite in a prelude and three movements. Guided by Homi Bhabha’s (1994) Third space theory and models by Brian Schrag (2013), Timothy Rice (2014), Akin Euba and Cynthia Kimberlin (1995), the study was based on qualitative ethnographic and artistic research methods. I sampled 13 producers, 13 musicians, and 6 bands through purposive and snowball techniques. Interview schedules, focus group discussion guides, and observation protocols were used to collect data, which was analyzed using thematic and narrative approaches. The findings indicated that musicians in Nairobi incorporate indigenous melodies, rhythms, instruments, and sound effects in their music. They also compose in Zilizopendwa styles that are based on indigenous genres. I established that intercultural music interactions and creations blur societal boundaries by employing elements from diverse cultures. These practices were subsequently illustrated in Ĩromba. Ĩromba utilized studio production techniques, traditional and classical instruments, and other elements from Western classical music, Kenyan indigenous and popular styles, and Arabic and Indian musics. I concluded that recontextualizing folk music genres through fusion preserves and develops them in contemporary spaces. The study offers new perspectives on creating and reinterpreting traditions through fusion within urban settings and composing and analyzing intercultural music composition. Consequently, it contributes to fluidity, hybridity, folk, popular, and intercultural music studies. The study recommended the establishment of symposiums to share and learn composition and production techniques used in creating folk-based styles. It also proposed that the music education academy should include active musicians in practice-based curriculums to give learners a comprehensive perspective on composing, producing, and performing contemporary intercultural folk musics.