Abstract:
This article examines cinema narration in Kenya, a practice that
involves artists known as DJs working with audiences in specific
socio-cultural contexts. This study uses ethnographic methods to
analyse the work of one such practitioner, DJ Afro, and the
reflections on his performance by two sets of audiences in
Eldoret and Narok respectively. For this purpose, three Hindi films
in DJ Afro’s repertoire have been selected: Magadheera (2009,
directed by S. S. Rajamouli), Bullet Raja (2013, directed by
Tigmanshu Dhulia) and Shadow (2013, directed by Meher
Ramesh). The choice is influenced by DJ Afro’s audiences’
responses to his narration and to the genre of the films. The
analysis of DJ Afro’s oral texts is done using relevant theories of
oral performance and popular culture. The article makes two
linked arguments. First, in Kenya, cinema narration has evolved
into one of the genres of popular culture. Second, this
performance may have been initially understood as translation of
meaning for local audiences, but it also works as an oral narrative
performance involving local performers and their audiences, and
in this process the meanings produced are determined in relation
to local texts and contexts.Makala ya utafiti huu yanachunguza usimulizi wa filamu inchini
Kenya, kama mazoezi ambayo yanahusisha wasanii na hadhira
katika miktadha mahususi ya kitamaduni na kijamii. Utafiti
unatumia mbinu za kiteknolojia kuchanganua kazi ya msanii
mmoja ambaye ni Dj Afro na tafakari ya utendaji wake kwa seti
mbili za hadhira katika mji wa Eldoret na Narok mtawalia. Kwa
madhumuni haya, filamu tatu za kihindi katika hifadhi ya Dj Afro
zilichanganuliwa: Magadheera (Rajamouli 2009) Bullet Raja (Dhulia
2013) na Shadow (Ramesh 2013) chaguo hili liliathiriwa na majibu
ya hadhira ya Dj Afro kwa masimulizi yake na aina ya filamu.
Uchunguzi wa matini ya simulizi ya Dj Afro hufanywa kwa
kutumia nadharia husika za utendakazi simulizi na utamaduni
maarufu. Makala haya hutoa hoja mbili zilizounganishwa, kwanza,
kwamba nchini Kenya, usimulizi wa sinema umekita mizizi kuwa aina ya tamaduni maarufu. Pili, kwamba ingawa usimulizi wa
sinema ulieleweka kama tafsiri ya maana kwa hadhira ya mahali,
lakini pia hufanya kazi kama utunzi wa simulizi unahusisha
wasanii na hadhira wa mahali hapo na kwamba katika mchakato
huu maana zimetolewa hubainishwa kuhusiana na matini na
miktadha ya pale.
