At the end of the 1920s in Kenya, Protestant Missionaries, government authorities and Christian Kikuyu clashed when missionaries sought to prohibit female circumcision among their adherents. The mission discourse emphasised the negative moral and physical effects of female circumcision on individual women, while that of the government stressed the function of female circumcision in maintaining the body-politic. The colonial discourse, as whole, is marked by a striking division between issues concerning women and those deemed political. Thus, women seldom appear as actors in historical narratives of the female circumcision controversy, which is generally represented as a nationalist movement initiated by, and of concern to, men. / This thesis presents alternate readings of the relevant colonial records. By examining the processes that functioned to exclude women from the political discourse it provides a different interpretation of the controversy as one in which women did indeed play a central political role, indirectly controlling the issue through men, who were regarded by the colonialists as the legitimate representatives of tribal interests. The thesis explores indirect methods of eliciting the perspectives of women which are muted or absent from the historical record.

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The overall policy goal of education for the Kenyan Government is the provision of education and training to all Kenyans as it is fundamental to the Government’s overall development strategy. This emphasis means that every Kenyan has the right to education and training no matter his/her socio-economic status. The Government has therefore allocated substantial resources and there has been notable achievements attained, but the sector still faces major challenges related to access, equity, and quality amongst others (Session paper no. 1 2005:2). One of these major challenges to access is the existence and persistence of retrogressive traditional practices such as female genital mutilation (FGM).The first concern of this study is that despite the immense awareness of the dangers on the victims in many aspects in life, and efforts to stamp it out, FGM still persists and thrives in many parts of the country to date. Secondly, there is an ever growing gender disparity in Kuria district, whereby women professionals are hard to come by. Even in the teaching profession which is associated with females in Kenya, there are a negligible number of Kuria female teachers. There is therefore need to liberate these girls from the persistent “senseless genital mutilation” by proper and relevant socialization and empowerment against cultural practices. The Cultural Lag theory of sociologist William F. Ogburn (1964) will be the underlying theoretical perspective of this study to explain the phenomenon, focusing explicitly on the / Sociology / DLITT(SOC)

The overall policy goal of education for the Kenyan Government is the provision of education and training to all Kenyans as it is fundamental to the Government’s overall development strategy. This emphasis means that every Kenyan has the right to education and training no matter his/her socio-economic status. The Government has therefore allocated substantial resources and there has been notable achievements attained, but the sector still faces major challenges related to access, equity, and quality amongst others (Session paper no. 1 2005:2). One of these major challenges to access is the existence and persistence of retrogressive traditional practices such as female genital mutilation (FGM).The first concern of this study is that despite the immense awareness of the dangers on the victims in many aspects in life, and efforts to stamp it out, FGM still persists and thrives in many parts of the country to date. Secondly, there is an ever growing gender disparity in Kuria district, whereby women professionals are hard to come by. Even in the teaching profession which is associated with females in Kenya, there are a negligible number of Kuria female teachers. There is therefore need to liberate these girls from the persistent “senseless genital mutilation” by proper and relevant socialization and empowerment against cultural practices. The Cultural Lag theory of sociologist William F. Ogburn (1964) will be the underlying theoretical perspective of this study to explain the phenomenon, focusing explicitly on the / Sociology / DLITT(SOC)

Accompanying music files attached (mp3) / The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group. / Arts History, Visual Arts & Musicology / D. Mus.

Orthodox Christianity came to the Banyore people of western Kenya in 1942. The Banyore are Bantu speaking people whose language belongs to the Luhya group of languages. The Banyore live near the Uganda border; they are thought to be related to the famous Uganda Kingdom of Bunyoro Kitara. The first Christian missionaries among the Banyore were Protestants who came from South Africa in 1905. . The Orthodox faith reached Bunyore in 1942, through a Kenyan missionary from central Kenya, Bishop George (Arthur) Gathuna, and Fr Obadiah from Uganda. The point of note here is that the first Orthodox Christian missionaries to introduce the Orthodox Christian faith to the Banyore people were Kenyans. I shall examine the relation between Orthodox Christianity and Banyore culture, and show how Orthodox Christianity, in dialogue with the Banyore people, became indigenised in Bunyore culture. Thus Orthodox Christians in Bunyore do not see Orthodoxy as something foreign, but as something that has become part of their own culture. / Christian Spirituality, Church History & Missiology / D.Th. (Missiology)

"November 2004" / Includes bibliographical references (leaves 246-263) / xi, 263 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / A comparative study of the impact of international catalysts on women's entry into the national parliaments of Kenya and Australia and whether they have similar impacts on women's parliamentary recruitment in countries that have different terms of incorporation into the international system. / Thesis (Ph.D.)--University of Adelaide, School of Social Sciences, Discipline of Gender Studies, 2005

Accompanying music files attached (mp3) / The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group. / Arts History, Visual Arts and Musicology / D. Mus.