Language and Gender Identity Marking in Litungu Music and Dance

Abstract

As a social institution, music and dance can be viewed as sites for social action i.e. for the construction of social phenomenon, including identity (Malchiodi, 2006; Coleman, 2005; Leuthhold, 1998). Yet with respect to Litungu (lyre) music and dance (henceforth LMD) - among the Bukusu people of Western Kenya - research on how the litungu players, singers, and dancers (de)construct gendered identities is yet to be done. Litungu music is one of the traditionally male-dominated social institutions, yet - as a result of globalization - it is one of the sites that have received a lot of influence from other forms of music within and across other cultural groups. This raises the question as to whether LMD has changed or not, especially with respect to gender issues. Against this background, this paper takes a linguistic perspective to investigate the shifting Bukusu identity in the context of music and dance. Specifically, we investigate how language is used to construct gender identities in the context of LMD. Using a descriptive design, both primary and secondary data is analyzed using Fairclough’s (1995) approach to critical discourse analysis (CDA). The findings of this study form the basis for reflections on the nature and future of LMD on the one hand, and how language is used in the context of music and dance on the other hand.