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Thinking around Genre: The Moral Narrative and Femininity in Kenyan Popular Media

Published online by Cambridge University Press:  06 July 2017

Abstract

In this article, I revisit a familiar narrative format of the moral narrative that I argue is used to narrate stories of (especially) women in the public sphere in Kenya. Reading a range of media texts, I trace a pattern of representation that I identify as contained within a recognizable genre of the moral narrative and use this genre to identify a structure of narrative of issues around gender and sexuality in Kenya. The examples are drawn from a popular radio drama program as well as from popular press reports of wayward women. The article also engages counter-narratives created by women such Vera Sidika and Huddah Monroe who, by publicly displaying their near-naked bodies in public platforms, create room for a counter-reading of discourses of gender and sexuality in the Kenyan public imaginary. This article will push the boundaries for reading popular cultural forms caught within generic constraints and reflect on the value counter-readings have in complicating readings of gender and sexuality in Kenya more generally.

Type
Articles
Copyright
© Cambridge University Press 2017 

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41 In a radio drama program produced for the Kenya Broadcasting Corporation (KBC), called Radio Theatre, the moral narrative is used. This is one of the longest running radio drama programs in the English language in Kenya; it features one-act plays that run for about thirty minutes every week. The plays are aired mostly on Sunday evenings. According to one of its most renowned former producers, Nzau Kalulu, it was first aired in 1982. Although there are indications that it could have aired much earlier than this date. Program line-ups from as early as 1954, for instance, show the existence of a radio drama program that was similar in structure to Radio Theatre. There is also a Kiswahili language program aired for KBC called Mchezo wa Wiki (Play of the Week), which also aired from the late 1970s. Although there is little evidence to connect these various “versions,” I nonetheless read Radio Theatre as an umbrella title for radio drama programs that dwelt in and circulated themes of everyday life in Kenya.

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