Cinema Narration as Oral Performance: DJ Afro and East African Media Practices

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. ABSTRACT IN IKISIRI 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 na 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.