[URBANTH-L]
REV: Lukalo, Extended Handshake or Wrestling Match? Youth and Urban
Culture Celebrating Politics in Kenya
Angela Jancius
jancius at ohio.edu
Tue Apr 10 13:29:03 EDT 2007
H-NET BOOK REVIEW
Fibian Kavulani Lukalo. Extended Handshake or Wrestling Match? Youth and
Urban Culture Celebrating Politics in Kenya. Uppsala: Nordiska
Afrikainstitutet, 2006. 65 pp. ISBN 91-7106-567-9.
Reviewed for H-Urban by James R. Brennan <jb2 at soas.ac.uk>,
Department of History, School of Oriental and African Studies,
University of London.
Youth and Urban Culture in Contemporary Kenya
In this idiosyncratic little book, Fibian Kavulani Lukalo examines how
urban youth carve out niches of social inclusion within the unwelcoming
political landscape of contemporary Kenya. The author does this by
paying close attention to the sorts of cultural innovations in music and
satirical print media that enable young urban men and women to create
political space denied them by a heavy-handed and largely corrupt
government. The music of Kenyan youths in the late 1990s was not simply
an exercise in hedonism, the author argues, but something that clearly
addressed and emphasized "the paradoxes in the lives of ordinary
Kenyans", and worked to create a popular culture "as a counter-hegemonic
process"(p. 9). Youth agitation thus sought to hold political leaders
accountable. It is an attractive argument, but one that is asserted
rather than demonstrated.
Lukalo begins with the observation that much of Africa's political
protest in the 1990s emerged "primarily in urban settings" (p. 9). The
author contextualizes this stormy period in Kenya's history, when
then-President Daniel arap Moi came under withering criticisms for
endemic corruption and stoking ethnic tensions, with a useful overview
of the period's grim political history since independence. As media
controls loosened in the 1990s, the arena for public dissent grew in
like proportion, providing the new spaces for young urban artists to
articulate dissent. The book's first and longest chapter provides a
sharp synopsis of the music scene in Kenya's capital of Nairobi, and the
decisive role that political patronage played throughout its history.
Lukalo also shows how youth have driven the city's linguistic
innovations, in both the regional lingua franca of Kiswahili as well as
specifically Nairobian "Sheng", a mixture of Swahili grammar with
several English, Kikuyu, and Luo loanwords. While the material discussed
here as elsewhere is nearly always interesting, the guiding argument
generally is not, for it comes down to variations on the manta-like
assertion that "youth popular culture and music presents [sic] a
distinct youth identity" (p. 34). This constant retreat into assertions
about youth identity prevents the reader from judging just what
significance Nairobi's urban youth culture actually poses to political
power. The final two chapters offer short portraits of how Christian and
hip-hop musical artists have increasingly taken up the issue of
government corruption and ultimately proved themselves willing to
confront Moi, yet it is not clear what direct role they played in the
2002 electoral victory against his chosen successor. Nonetheless the
book does give a strong sense of the ubiquity of urban youth's anger
with corruption, and the creative and often humorous ways in which this
frustration gets expressed.
This is a book about urban culture rather than urbanization, with the
latter mainly understood as an abstract process that precipitates ever
more interesting cultural and political developments. "Urban" here
simply refers to geographical location, in this case the city of
Nairobi. The book is more useful in dissecting the patronage networks
that create, sustain, and tear apart relationships between Kenyan's
national political elite and its artists, a subject of great importance
that calls for more research. The book imparts a flavour of Nairobi's
vital music and print culture, which hopefully will inspire interested
readers to pursue this subject further. In summary, this book will be
useful for those interested in the relationship between popular culture
and politics in contemporary East Africa, in particular the role and
work of Kenya's creative young artists.
Copyright (c) 2007 by H-Net, all rights reserved. This work may be
copied for non-profit educational use if proper credit is given to the
author and the list. For other permission, please contact
H-Net at H-Net.Msu.Edu <mailto:H-Net at H-Net.Msu.Edu>.
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