This study focuses on the history of higher education in Kenya since 1975, with an emphasis on curriculum development. The main purposes of the study were (1) to describe the historical events of higher education in Kenya since 1975, and (2) to analyze the present system of higher education in the country. The study attempted to answer questions related to higher education in Kenya. The questions investigated were (1) how had the characteristics of higher education curriculum changed since 1975?; (2) in what ways had the purposes of higher education in Kenya changed since 1975?; (3) to what extent have these purposes been achieved? why or why not?; and (4) which events since 1975 had a major impact on higher education in Kenya? The major analysis of the study is historical and gives an explanation of the history of the development of higher education in the colonial days in Kenya, briefly discussing the period 1963-75. The analysis of Kenyan institutions of higher education covers the development of Kenyan higher education since 1975. The discussion consists of basic facts of Kenyan higher education. Data from primary and secondary sources were analyzed and studied. Documents were chronologically and topically reviewed. Chapter I of the study is the introduction. The history of higher education is in Chapter II. Chapter III discusses the impact of Western education in Kenya. Chapter IV deals with development, politics, and Kenyan higher education. Chapter V contains the summary, a discussion, and conclusions based on the facts presented in Chapters I through IV. Since 1975, higher education in Kenya has emphasized vocational and technical education, African culture, natural sciences, and rural development.

This paper examines the Harambee Movement and how it affected Kenya's economic development. Before 1963 Kenya was a British colony and economic development favored the colonial government. At Independence the new government tried to restructure the economy for the Kenyan people. Recognizing the lack of adequate capital and a rural development program, the movement became a means by which people could provide services for themselves. These services included schools, technical training, water supply and health facilities. Sources of data were books, articles, government publications and papers published by the Institute of Development Studies, Nairobi University. The Harambee Movement flourished in the provision of educational opportunities, clean water supply and health facilities. Problems included planning, coordinating and duplication of services.

This thesis explores the nature and extent of political party institutionalization in Kenya. More specifically, it focuses on the four dimensions of party institutionalization, namely organizational systemness, value-infusion, decisional autonomy and reification. The study itself is largely located within the historical-institutionalist school of thought, with particular emphasis on the path dependency strand of this theoretical framework. However, the study also employs a political economy approach. It recognizes that the development trajectory of party politics in Kenya did not evolve in a vacuum but within a particular historical-institutional and political-economic context. The thesis advances the notion that those current low levels of party institutionalization that are evident in almost all parties, and the relatively peripheral role that they have in Kenya's governance can be traced to Kenya's colonial and post-colonial political history, the resource poor environment and the onset of globalization.

This study examines the origin, the manifestation and impact of the direct taxation of Africans in Kenya. While the state had several reasons for imposing taxation on Africans, the basic factor weighed on the need for a definitive source of revenue. For most of the colonial period, this aggregated to about 37½ percent of the total revenues. The thesis shows how taxes were collected from Africans, how this led to participation in the cash economy and how they continually resisted and evaded such taxation. Tax collection was synonymous with colonialism and this was manifested through the central role of chiefs, who used taxes and force to coerce Africans into migrant wage labour. Through taxation policies, legislation and African resourcefulness, migrant wage labour served the needs of a colonial capitalist settler economy. In this way, the colonial state revealed its capacity for dominance, power and exploitation. Evidence has been adduced to show that African taxation was an important factor in Kenya’s administrative, political and economic development. The policy of African taxation, land loss and poor working conditions are remembered as having interfered with African mechanisms for accumulating wealth. One of the main objections of the payment of taxes was the manner of its collection. Those unable to pay were imprisoned or detained while many took to instant flight at the sight of the tax collector. The thesis shows that in spite of all these harsh tax collection methods, peasants remained largely resilient and industrious. The Mau Mau movement was the culmination of various peasant grievances in which the colonial state used steep taxation as a counter-insurgency measure. Kenya’s independence in 1963, however, never altered the predatory nature of the state. Subtle, opportunistic and overt ways continued to be used to extract taxes from the peasants and the working class. It was not until 1973 that the much-hated colonial poll tax that had been renamed as graduated poll tax was abolished and replaced by indirect taxation. Finally, taxation like other colonial legacies has endured and has become one of the most important sources of revenue for the government to manage its fiscal policies.

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts and Musicology / D. Litt et Phil. (Musicology)

This study gives an historical account of foreign ownership of newspapers in Kenya. Since the establishment of the first newspaper in the early 1900s, to the modern publication of daily newspapers in Kenya, the press has been dominated by foreign owners, writers and advertisers. Before independence from Britain, foreign domination was expressed by the total disregard of the African by the newspapers. After independence, foreign domination continued as the government, dedicated to the free enterprise capitalist system, has not made any substantial effort to nationalize already established newspaper companies. In 1977 the first African-owned newspaper, a weekly was established. Today, there is no African-owned daily newspaper. All indications are that only the modernizing process will result in African ownership and control of newspapers.

This thesis examines the relationship between the Africa Inland Mission (AIM) and the Africa Inland Church (AIC) in Kenya between 1939 and 1975. AIM began laying plans for an African denomination in Kenya in 1939 and established the Africa Inland Church in 1943. The mission did not clearly define the nature of its relationship with the church it founded. The arrangement was informal, and evolved over time. In addition, the relationship between the AIM and the AIC between 1939 and 1975 was often troubled. African independent churches were formed in the 1940s because of dissatisfaction over AIM policies. The mission opposed devolution in the 1950s, even when other mission societies were following this policy in preparation for independence in Kenya. AIM continued to resist a mission church merger in the 1960s and did not hand over properties and powers to the church until 1971. The study focuses on how the mission’s relationship with the church it founded evolved during this period. It considers how mission principles and policies created tension in the relationship with the church it founded. First, it examines how mission policy contributed to significant schisms in the 1940s, giving rise to African independent churches. Second, it looks at how AIM interpreted and responded to post-war religious, political and social changes in Kenya. Third, it explores the reasons for AIM’s rejection of a proposed mission-church merger in the late 1950s. Fourth, this study investigates mission motives for resisting increased African pressure for devolution after independence in Kenya even while it helped establish the Association of Evangelicals in Africa and Madagascar. Fifth, it considers what happened to the mission and the church in the aftermath of a merger in 1971.

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