Kenyan youths are among the most vibrant youths not only on the African continent but inaguably the whole world.
Kenya is a country of the youth according to the 2019 Population and Census results which shows that 75% of the 47.6 million population is under the age of 35. The youth population (18-34 years) constitute 13,777,600 (29.0 per cent) in 2019 compared to 11, 809,518 (28.7 per cent) in 2009. - Citizen Digital
We have argued that that popular music not only has a critical index in understanding
but also plays a significant role in shaping, influencing, and negotiating identity
formations among the youth. This explains why a vast majority of the Kenyan
youth are active participants in the music because it offers more to them than
mere entertainment. Of interest is the fact that through popular music, two facets
of youth identity in Kenya emerge: foisted identity and referential identity. On the
one hand, foisted identity refers to an identity imposed on the youth. The criminal
identity discussed above best exemplifies foisted identity. Largely, the popular songs
analysed herein have shown that the youth decry the criminal identity imposed on
them by the law enforcers though, to some extent, the songs admit that there are
some youth who are indeed criminals. Interestingly, while the police consider the
youth as criminals, the youth view the police as terrorists because they not only
terrorise but also break the very laws that they are meant to enforce. Referential
identity, on the other hand, refers to the intrinsic and reflexive identity for the youth
portrayed through popular music. The hustler identity best exemplifies this form of
identity as it portrays what the youth actually think about themselves. Creatively,
the Kenyan youth are portrayed as individuals who will stop at nothing in order to
earn a living, explaining why they engage in various day-to-day activities in order to
sustain themselves. - Muziki (Journal of Music Research in Africa) | Popular music and identity formation among Kenyan youth
So why Choral Music?
Kenya is rich with diverse music, from the popular Afro Beats from Nigeria, to the now exciting Amapiano from South Africa. Kenya has not been left behind in the creation and development of its own music genre called Gengetone. Gengetone evolved from Genge-rap, a musical style incredibly popular in the 2000s in Kenya. It blends rap with reggaeton and dancehall infusions resulting in a high-energy and dance-ready sound. With artists such as Mejja who pioneered the genre to Sailors Gang who hit the airwaves with their popular song Pekejeng thus giving the genre a new turn. These genres of music are currently popular among the Kenyan teens and youths.
However, The origins of classical music in Kenya can be traced to the advent of colonialism. The building of the Kenya-Uganda Railway (dubbed the 'Lunatic Express') opened up the interior and led to the founding of a humble town on the vast central plain that would become the administrative capital of the new colony. The earliest reference to an orchestral event dates to September 7, 1914 when Nairobi’s Theatre Royal (now known as Cameo Cinema) was packed out for what the newspapers of the day described as ‘the greatest meeting in the history of British East Africa’. An audience of 1500 gathered to listen to Colonel Ewart Grogan exhort all present to fulfil their patriotic duty in confronting the enemy across the border in German East Africa. There was an orchestra at hand to stir up the audience with patriotic songs. - Music in Africa | Stanley Gazemba | Classical Music in Kenya.
This clearly shows that choral music as a genre has been very active in Kenya long before the other above mentioned times. The popularity of choral music was witnessed during Late President Moi's err. Late President Moi was a champion of choral music and led intoduction of music in learning institutions. The founding father of Kenya, Mzee Jommo Kenyatta championed the performance of choral music in state function, a popular norm that is practiced to date.
Choirs have evolved from Mzee Jommo Kenyatta's err to the digital err. With more and more choirs; from denominational choirs to interdenominational choirs coming up, the choirs have opted for more inclusive songs that are appreciated by the mentioned age sets. It is a common tradition for the audience to dictate the type of music they want irregardless of the genre and choral music groups have not been spared either. It is therefore important to note that choirs in Kenya have evolved: even though most of them still sing their traditional folk or cultural music.
The reason for persistant in this genre of music is the rich cultural heritage in Kenya that makes it a great envy among its neighboring countries in the continent. Groups such as Seniors' Choir, The Kenyan Boys' Choir, Nairobi Chamber Chorus and Nairobi Girls Chorale among other choirs have opted for more contemporary forms of music, whereas still performing the African traditional sets.
Seniors' Choir is a Choral youth group in Dandora with youths from Korogocho, Dandora, Kariobangi and their environs. Their purpose is to spread hope for a better tomorrow and empower youths through their musical talent. Senior's choir empowers youths by providing them with an opportunity to enhance their music literacy skills while addressing the pressing issues of youth unemployment and crime. By participating in their choir program, youths not only develop new talents and improve their cognitive abilities, but they also serve as mentors and positive role models for younger generations. Their unique approach promotes intergenerational collaboration and fosters a sense of community, ultimately leading to reduced youth unemployment rates and a decrease. The choir boasts of having performed in prestigious locations and events alongside some great acts such as the Yale Glee Club
Choral Music is important among youths in Kenya because of the following:
It cultivates general musicality, as well as specific musicality (reading, listening, ear training, appreciating, producing music from your own body, following and leading, among other things.) This is a very long list that music educators spend a considerable time learning to teach. It is not complete here.
It cultivates a sense of community, contribution, and belonging.
It requires no special equipment, other than arrangements, which may be entirely taught by rote anyway.
It empowers children and adults who may have been deprived of musical training to be musical and enjoy it.
Almost anyone can do it. People who are completely unable to match pitch are rather rare, and most of those I have met got over it in short order after being compelled to sing regularly. Pitch accuracy only improves with practice. It is better to start them young, however, in elementary school if not before.
It is a kind of art that ONLY can be produced by group cooperation.
There are no superstars in a choir, and everyone has to keep up because one person wandering off pitch or rhythm can ruin it for everyone.
It may be the only art form which can be realised to a high professional level by a group of amateurs. The Montreal Symphony chorus used to be almost entirely staffed by amateur singers—albeit carefully chosen and trained amateurs—and they were one of the best choirs in Canada. I have heard amateur choruses sound spectacularly good. Try that with an amateur orchestra or concert band.
