Abstract:
The struggle for gender equality is often considered a women’s issue; yet, gender equality stands to benefit both men and women. For this reason, women have been at the forefront in the struggle against patriarchy and gender parity. Therefore, this research was made necessary by the need to undertake a critical scholarly appreciation of the use of selected songs composed by Diana Chemutai Musila (Chelele) and Babra Chepkoech (Waridi) to contest patriarchy. Specifically, to interrogate the contestation of a hierarchical gendered point of view in the selected songs of Diana Chemutai Musila and Babra Chepkoech, examine the contestation of hierarchical appropriation of space in the selected texts and discuss the gendered hierarchy of authority in the selected texts. This study was guided by two theories, feminist literal theory and feminist stylistics theory. Elaine Showalter (2001) feminist literary theory was used to interpret how the artists capture the experiences of women in their songs. Sarah Mills’Feminist Stylistics was also used to interpret the relationship between language and gender in different literary and non-literary texts. It provided tools to uncover bias against women. This study adopted a qualitative research design which involved interpretation, analysis and description of data. The target population were all the songs performed by the two popular Kipsigis singers, Diana Chemutai and Babra Chepkoech. The study purposively sampled ten songs by the aforementioned two Kipsigis artists. Data was collected by close-reading and critical interpretation of the lyrics of the songs sampled. Observation of audio and video performances of the sampled songs also enriched the depth of the researcher’s auditory and visual stimulation of the critical interpretive response to the songs. The songs identified three themes in which the songs are framed: social challenges of marriage, asserting agency and contesting patriarchy. The artists used musical judgements to align themselves with certain values, and this allowed them to take up more powerful subject positions. However, although this offered them a form of individualised empowerment, their ability to use this power was highly constrained; because they saw themselves as individuals, they were largely unable to access collective forms of support because of resistance from reactionary characters expressed in the songs and also those who seem to wield tremendous power.
