ANALYSIS OF SOMALI ORAL NARRATIVES IN CONTEMPORARY

LITERATURE: A CASE OF DADAAB REFUGEE CAMP,

GARISA COUNTY, KENYA

By

ABIGAEL JEPKIRUI C.

A RESEARCH PROJECT SUBMITTED IN PARTIAL FULLFILMENT OF

THE REQUIREMENT FOR THE AWARD OF MASTER DEGREE

IN LITERATURE OF

MOUNT KENYA UNIVERSITY

AUGUST, 2021

i.
 DECLARATION AND APPROVAL
This project is my original work and has not been presented for a degree in any other

University or for any other award.

Sign ……………………………. Date ………………………………………

Abigael Jepkirui

MELIT/2017/67082

Approval by University Supervisor

I confirm that work reported in this project was carried out by the candidate under my

supervision.

Sign…………………………………… date ……………………………

Dr. Peter Muhoro Mwangi

School of Social Sciences

Mount Kenya University

ii.
 ACKNOWLEDGEMENT
I am indebted to the entire Mount Kenya University for the chance given to me to

pursue masters of Arts literature. To my supervisor Dr. Peter Muhoro Mwangi and my

coordinator, Dr. Paul Edabu, I whole-heartedly appreciate your great advice and

contributions towards the achievement of this study. I wish to thank my parents for

the support they accorded to me.

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 ABSTRACT
The study seeks to analyze contemporary Somali oral narratives in Dadaab Refugee
Camp. The statement of the problem investigated the existence of different forms of
narratives in Somali language and how they have contributed to African Oral
literature. The study is guided by the objectives that include; to identifying and
analyzing genres of Somali oral narratives their origins and role in Somali oral
literature in Dadaaab Refugee camp. To examine the nature and features of style
depicted in Somali oral narratives, as narrated by artist in Dadaab Refugee Camp. To
analyze and asses challenges facing development of Somali oral narratives and how
they can be recorded as oral literature as rendered by the oral artists in Dadaab
Refugee Camp. To determine how oral narratives have been affected by trans-
culturalism and as an emergent oral literature genre in Dadaab Refugee Camp. The
research questions to the study included; what is the origin and roles of genres of
Somali oral narratives in emerging oral literature in Dadaab Refugee Camp? How are
the features of style in Somali oral narratives rendered in the emerging Somali oral
literature in Dadaab Refugee Camp? What challenges do literary scholars face in
recording and analyzing Somali oral narratives in Dadaab Refugee Camp? How has
trans-culturalism influenced rendition of Somali oral narrative as emergent oral
literature in Dadaab Refugee Camp? This study employed the use psychoanalysis and
structuralism theories of literature. It was limited to Dadaab Refugee Complex and
not the larger North Eastern Kenya; it was also limited to the Somali refugee. Somali
speaking community from Kenya did not take part in the study. To get written and
translated Somali oral narratives, the researcher relied on both independent and
intervening variables. The independent variable constituted of features of Somali oral
narratives, genres of Somali narratives, challenges facing oral narratives and the
effectives of multi-culturalism on oral narratives. The intervening variable on the
other hand included availability of reliable translators and availability of English
writers. Phenomenology research design was used in collection of data about the
Somali oral narratives, the participants- Somali elders, Somali women narrators and
scholars- was selected using the purposive sampling technique. The collected data
was generalized. The instrument for data collection included interview schedules for
both the Somali elders and the women focused group discussions with the scholars,
document analysis if presented by the scholars and observation. The data collected
was analyzed using the Nvivo method of analyzing qualitative data. The study
findings revealed that Somali writings originate around the early twentieth century
and originally existed in several diverse scripts; most Somali narratives are didactic.
Somali oral narratives have features that distinguish them from the rest of the African
narratives. Most Somali authors incorporate the use of poems and proverbs. Somali
stories move to the unknown from the known. A challenge identified as affecting
Somalis oral literature is the changing tradition and culture due to regular movements.
The findings add knowledge to the field of literature; it also brings to light different
genres of Somali oral literature that are not yet known. It also helps academicians
understand different forms of Somali folklore.

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 TABLE OF CONTENTS
DECLARATION AND APPROVAL............................................................................I
ACKNOWLEDGEMENT.............................................................................................II
ABSTRACT.................................................................................................................III
TABLE OF CONTENTS.............................................................................................IV
LIST OF TABLES......................................................................................................VII
LIST OF FIGURES...................................................................................................VIII
LIST OF ABBREVIATIONS......................................................................................IX
CHAPTER ONE............................................................................................................1
INTRODUCTION..........................................................................................................1
1.0 Introduction..........................................................................................................1
1.1 Background to the Study......................................................................................1
1.2 Statement of the Problem.....................................................................................6
1.3 Purpose of study...................................................................................................7
1.4 Objectives of the study.........................................................................................7
1.5 Research Questions..............................................................................................7
1.6 Justification of the Study......................................................................................8
1.7 Significance of the study......................................................................................9
1.8 Scope of the Study...............................................................................................9
1.9 Limitation of the Study........................................................................................9
1.10 Delimitation of the Study.................................................................................10
1.11 Assumptions of the Study................................................................................10
1.12 Operational Definition of Terms......................................................................11
CHAPTER TWO.........................................................................................................13
LITERATURE REVIEW.............................................................................................13
2.0 Introduction........................................................................................................13
2.1 Empirical Literature...........................................................................................13
2.2.1 Somali Oral Narratives................................................................................14
2.2.2 Written Somali Narratives...........................................................................15
2.2.3 Somali Narratives and Learning of English................................................16
2.2.4 Structure and Style/Features of Somali Oral Narratives.............................19
2.2.5 Challenges Facing Development of Somali Oral Narratives......................21
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 2.2.6 Change of Environment as Experienced by the Somalis of Horn of Africa
..............................................................................................................................23
2.2.7 Trans-culturalism and its Influence to Somali Traditions...........................24
2.3 Theoretical Framework......................................................................................26
2.3.1 Structuralism...............................................................................................26
2.3.2 Structuralism and literature.........................................................................27
2.3.4 Psychoanalytic theory and Study of Literature...........................................28
2.4 Conceptual Framework......................................................................................30
2.5 Research Gaps....................................................................................................31
2.6 Summary of Literature Review..........................................................................31
CHAPTER THREE......................................................................................................32
RESEARCH METHODOLOGY.................................................................................32
3.0 Introduction........................................................................................................32
3.1 Research Methodology.......................................................................................32
3.2 Research Design.................................................................................................32
3.3 Location of the Study.........................................................................................33
3.4 Target Population...............................................................................................33
3.5 Sampling Procedure and Sample Size................................................................33
3.6 Description of Research Instruments.................................................................35
3.6.1 Interviews....................................................................................................35
3.6.2 Document Analysis.....................................................................................35
3.6.3 Focus Group Discussion.............................................................................36
3.7 Piloting...............................................................................................................36
3.8 Testing for Validity and Reliability of the study instruments............................36
3.9 Description of Data Collection Procedures........................................................37
3.10 Data Analysis and Presentation Technique......................................................37
3.11 Ethical Considerations.....................................................................................37
3.11.1 Informed Consent......................................................................................37
3.11.2 Anonymity.................................................................................................37
3.11.3 Summary...................................................................................................38
CHAPTER FOUR: DATA ANALYSIS, INTERPRETATION, AND DISCUSSIONS
......................................................................................................................................39
4.1 Introduction........................................................................................................39

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 4.2 Response Rate....................................................................................................39
4.3 Background Information....................................................................................39
4.3.1 Distribution of Respondents by Gender......................................................40
4.3.2 Distribution of Respondents by Age Brackets of the Respondents............40
4.3.3 Distribution of Respondents by Highest Level of Education......................41
4.4 Descriptive Findings and Discussions...............................................................41
4.4.1 The genres of Somali Oral Narratives, the Origins, and Role in Oral
Literature of Somalis............................................................................................42
4.4.2 The Nature and Features of Style Depicted in Somali Oral Narratives......47
4.4.3 The Challenges Facing Development of Somali Oral Narratives...............52
4.4.4 Effect of Trans-culturalism on Oral narratives...........................................53
CHAPTER FIVE..........................................................................................................64
SUMMARY OF FINDINGS, CONCLUSIONS, AND RECOMMENDATIONS.....64
5.1 Introduction........................................................................................................64
5.2 Summary of Findings.........................................................................................64
5.3 Conclusions........................................................................................................67
5.4 Recommendations..............................................................................................68
5.5 Suggestions for Further Studies.........................................................................69
REFERENCES.............................................................................................................71
APPENDIX I: QUESTIONNAIRE.............................................................................77
APPENDIX II: INFORMED CONSENT FOR THE RESPONDENTS.....................79
APPENDIX III: WORK PLAN...................................................................................80
APPENDIX IV: BUDGET..........................................................................................81
APPENDIX V: MAP OF THE DADAAB REFUGEE COMPLEX...........................82

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 LIST OF TABLES
Table 1: Target Population.......................................................................................33
Table 2: Sample Size................................................................................................34
Table 3: Gender of the Respondents........................................................................40
Table 4: Age Brackets of the Respondents..............................................................40
Table 5: Highest Level of Education of the Respondents........................................41

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 LIST OF FIGURES
Figure 1: Behavior development stages.......................................................................29
Figure 2: Conceptual Framework.................................................................................30

viii
 LIST OF ABBREVIATIONS
ESL- English as a Second Language

ISOLA- International Society for Oral Literatures of Africa

NACOSTI- National Commission for Science, Technology & Innovation

SOAS- School of Oriental and African Studies

UNHCR- United Nations High Commission for Refugees.

USA- United States of America

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 CHAPTER ONE
INTRODUCTION
1.0 Introduction

The chapter consists of background to the study, statement of the problem, purpose of

the study, objectives, research questions, the justification of the study and its

significance. It covers the scope and limitation as well as the assumptions of the

study, theoretical framework and operational definition of terms.

1.1 Background to the Study

It is easier to understand spoken word than understanding written word. Writing is the

invention meant to re-enact, recapture human mind, intentions emotions, opinion

views experience and prediction. All over the world, oral literature has been important

in setting pace for written literature. It is crucial part in development of every human

culture.

Ganyi (2016) stated that oral literature all over the world is ageless since it has been in

existence since existence of human history. Ganyi quoted Bynum, (1974) who stated

that many years ago; the only known mode of communication has been use of tongue.

He stated that use of use mouth or oral communication all over the world was the only

way knowledge survived man before the age of writing.

The Native American literature had similar function as those of the African oral

literature. The narratives were presented in a euro-American perspective. It addressed

issues to do with land, social organization and religion. The Native American stories

1
were in form of stories of origin; trickster and other tales were narrated to emphasize

on the importance of family.

Nkem, (2012) posits that oral narratives are expended by word of mouth. He states

that oral literature has other names such as folklore literature or oral tradition while

other scholars use the term ‘orature’. The unrelenting need to use both oral literature

and “orature” terms has led to questioning which the most appropriate term to use is.

Use of the term “Orature” has been connected to the Eurocentric thinking that it is

strictly spoken while the term ‘literature’ is strictly written, and not just any written

artistic work. Folklore, on the other hand is practically verbal narration. Beus, (2012)

argued that folklore does not involve any form of writing and therefore should not be

associated with literature.

Kimani, (2010) posits that literature is as a result of artist’s creativity. He states that

written should be distinguished by the manner of writings or the creativity of the

artist. Creative works of literature should be distinguishable whether written or

narrated. Wasamba, (2014) on the other hand explained that both written literature

and spoken literature involve handling language in a tactful manner. He links

language of narration to written literature in that for both forms language is the

medium. He explained that all forms of literature have language as a common factor –

where language is linked to the culture- therefore, literature and culture cannot be

separated.

The aesthetic value and relevance of African oral narratives has attracted most

scholars to Africa. As Ogunjimi & Naʼallah, (2005) argued that actual and recorded

performances are from the heart, mind and the memory of an artist and a traditional

2
bearer who still holds to culture but appreciate the changing dynamics of the modern

community.

Wasamba, (2015) asserts that our lives revolve around narrated stories. Stories would

bring people together, promoted socialization, were narrated as a form of livelihood,

could educate, uphold morals and preserve culture. He adds that dignity is given to

that which is lost by way of word of mouth.

As it was once said, African continent is full of oral traditions that led to development

of folk culture. Tala, (2012) stated that contemporary society life has been greatly

influenced with oral traditions. It is thus assumed that oral traditions create oral

literature. In Kenya, Owuor Anyumba and Ngugi wa Thiong’o facilitated the

movement of literature from academic to being a means to learning about one’s

culture in 1968, this was achieved when it was introduced to English syllabus. It was

suggested that “orature” should be the center of study. For the first time, in 1970’s,

literature was studied at “A’ levels and a curriculum was put in place. University

students began to research about their oral traditions and narratives (Njogu, 2010).

Ong, (2013) posits that stories in African society would be narrated in the evenings

when there was no work to done. This culture was similar to that of any African

community. Stories told in the evening would mostly reflect on what had been going

on during the day. The hardworking people in the society would be portrayed as good

people while the lazy and the wicked would be corrected using characters that had

similar traits as them. This ways, social and moral values were instilled in the society.

In the same manner, Somali community is united by their idea of traditions which are

set in place and narrated in stories; the oral rules would take the form of myths,

tricksters, tales, and legendary narratives. The narratives contained information that
3
would “tame” the societies’ ways and culture. Courlander, (1992) states that story

tellers would describe and interpret the world, instill morals, resolve natural and

physical phenomena, worship god and hand down survival tactics. Laist, (2012) also

states that human beings find spiritual and religious fulfillment in “orature.” His

sentiments are echoed by Helland, (2013) who states that literary texts are used to

show important elements in oral literature of different communities. In both

arguments, it is clear that literature both written and oral perform similar functions.

When narrating stories, the audiences and the narrators sit closely together, preferably

in a circular manner. This creates a connection between the narrator and the audience.

Hodge, et al (2002) says that by sitting close together, a connection and a bond is

formed. Bell, (2010) emphasizes that through the connection, the audience can reveal

their feelings.

Narrators in Somali, keep the listeners active by using body signs, use of songs, facial

expression, and arousing the audience by use of other language style.

Berry, (2008) classified the story tellers into two; the good ones and the poor ones.

Good narrators use different styles to narrate the same story while poor narrators

would repeat the same story in the same manner. Sone, (2009) also added that good

narrators would have command on the audience. They would use known songs and

sayings so as to ensure that the audience are participating in the narration. By

constantly repeating particular words, the audiences’ are able to retain the story for a

long time. Matateyou, (1997) confirms that audiences enjoy most when the story is

familiar as they become participants.

Martin and Nakayama, 2013 argued that language has been a powerful tool that has

been used to advocate for change for over a long period of time. Scholars
4
and Sheikhs of past centuries composed documented Islamic poems and prose

writings. The works were written within the regions and stored in archives. According

to Brioni, (2015) Somali literature has always been used to entertain and create the

feeling of togetherness and perform several other functions in the Somali society.

Kimani, (2010) states that, communities have been able to develop through the use of

oral narration. However, with the cultural change, communities have shifted from

narration of stories to written stories. This has called for change in transmission of

culture from one generation to another and from narration and from oral to written.

However, Somalis’ lack prose literature.

The Somalis belong to Cushitic ethnic group from the horn of Africa. They speak the

Somali language with majority being Muslims. The Somali ethnic groups are around

30 million with the majority living in Somalia, around 15 million living in Ethiopia;

around 3million living in Kenya and half a million is living in Djibouti. They

consider themselves as one community because of their unifying Somali language.

The Somali flag has five stars as a symbol of the five countries from which the

Somalis stay. Because of the constant Somali war, they have been forced to flee from

where they consider their original home to new homes.

Today, Somali refugees are found all over the world including the northern American

region, Europe and in other parts of African countries. The UNHCR report of January

2019 stated that Dadaab Complex in North Eastern Kenya was established in 1991

when refugees from Somali started crossing the Kenyan Somali boarder and the

second largest group of refugees arriving in 2011 fleeing south of Somalia due to

drought. The complex has four camps with those who arrived in 1990s currently

living with their children, grandchildren and great grandchildren.

5
This study focused on Somali who presently occupy Dadaab Refugee Complex that

neighbors Somalia to the East and River Tana County to the south. In this chapter,

important information about oral narratives of the community is given. It is also

important to note that the Somali communities coexist with other communities within

Dadaab and outside Dadaab. For instance, there are the Meru and the Kamba

communities who engage in thriving business in the camps. The Rwandese and

Congolese and south Sudanese refugees also coexist together with the Somalis.

Reference to migration of the Somalis and resettlement of Somalis is important to this

research study in that most of Somali narratives relates to movement and settlement.

1.2 Statement of the Problem

The research study is geared towards investigating literariness in Somali oral

literature in terms of examining the thematic concerns, social concerns and features of

style depicted in Somali oral narratives from narrators in the selected Refugee Camp

in Dadaab. Renowned African novelist, Chinua Achebe once stated that what was

emphasized yesterday and presumed to be right may not be right today. As such he

stated that creativity and imagination of oral narrators had to be flexible. He

emphasized that African scholars should worry about the future of oral narratives as it

would be overtaken by cultural change and technology.

Ganyi, (2016) argued that in spite of scholars and writers popularizing the African

oral narratives by promoting written narratives, there is a problem with the Somali

oral literature. There is little oral works written and translated to English. The SAOS

African literature conference held at Makerere in 2017 to celebrate African writers

saw few representatives from Somalia, even in their presence; they had no works of

oral literature to present.

6
In response to the above problem, this study further investigated why the Somalis

viewed as an oral community has consistently used oral literature as a communication

tool to express their lived experiences as an African society.

1.3 Purpose of study

The study purposed to analyze the literariness of Somali oral narratives and its role in

literature as narrated in Dadaab refugee camp, Garissa County.

1.4 Objectives of the study

The following objectives guided the study;

i. To identify and analyze genres of Somali oral narratives, their origins and role

in oral literature of Somalis in Dadaab Refugee Camp.

ii. To examine the nature and features of style depicted in Somali oral narratives

as narrated by oral artists in Dadaab Refugee Camp.

iii. To analyze and assess challenges facing development of Somali oral narratives

and how they can be recorded as oral literature as rendered by oral artists in

Dadaab Refugee camp.

iv. To determine how oral narratives have been affected by trans-culturalism and

as an emergent oral literature genre in Dadaab Refugee Camp.

1.5 Research Questions

The research study was guided by the following questions:

i. What is the origin and roles of genres of Somali oral narratives in oral literature

in Dadaab Refugee Camp?

ii. How are the features of style in Somali oral narratives rendered in the emerging

Somali oral literature in Dadaab Refugee Camp?

7
 iii. What challenges do literary scholars face in recording and analyzing Somali

oral narratives as oral literature in Dadaab Camp?

iv. How has trans-culturalism influenced rendition of Somali oral narrative as

?emergent oral literature in Dadaab Refugee Camp

1.6 Justification of the Study

This study focused on the Somali oral narratives among other genres of literature that

carries the norms and values of the Somali community. The investigation aimed to

understand whether the Somalis in Dadaab Refugee Camp have oral narratives, if they

still perform them and whether some of the stories have been published in African

literature works. This study hoped to contribute towards understanding of the Somalis

oral narratives and how they have emerged as a way of expressing their lived

experiences.

Criticism about oral narratives being a genre of oral literature is added to field, in

addition, gap left by other researchers such Ali Jamile (2002) and Adam (2005) is

filled. Earlier scholars majorly focused on the Somali folklore, with majority placing

emphasis on the Somali poetry. Researchers and scholars believed that poetry is the

most important literary genre among Somali people; little has been done about the

Somali narratives. Hence, this research is important since it focused on the literariness

of the Somalis contemporary literature with emphasis on oral narratives.

The choice of Somali community is justified in the sense that further research on the

Somali oral stories would complement the existing Somali oral literature.

1.7 Significance of the study

8
This study enables academicians in Kenya and outside understand the literariness of

the Somali works.

It explains the importance of Somali in shaping contemporary literature in Africa.

The findings add knowledge to the field of research science and technology since

something new was discovered. Gaps left by other researchers will be filled.

1.8 Scope of the Study

This study analyzed Somali oral narratives and contemporary literature in Dadaab

complex during the months of March and April, 2020. Data was collected from the

Somali elderly men who have the history of the Somali people, their origin and stay in

Dadaab Camp. The Somali women expend the stories to their children when their

husbands are out in the fields herding camels and cows. Scholars within the region

participated in the study as most of them were borne in the area, have had the stories

narrated by their parents and therefore can identify with the changes they face.

Dadaab Complex has four refugee camps that were established in 1991 due to the

aftermath of the Somali war. The total number of refugees according to the UNHCR

report of 2017 was 240 000. It is one of the largest camps in Africa. The Somalis are

pastoralist, some of the animals kept include; donkeys, cattle, camel, sheep and goat.

1.9 Limitation of the Study

The respondents may be reluctant to disclose information about the oral stories as

some are tied to their religion (Islam) and consider it personal.

Data collection tool may not give reliable information as the respondents may not be

able to remember narrated stories over a long of time.

9
The study was limited to the Somalis’ of Somali origin in Dadaab Refugee Camp and

the findings were not generalized the larger North Eastern Kenya.

The study was also limited to the Somali culture where men are not allowed to

interact with ladies freely.

1.10 Delimitation of the Study

This research work was proposed to be taken in Dadaab Complex in North Eastern

Kenya. The study was limited to Somalis from Somalia; hence it did not include the

larger Somali community from Kenya. The participants were the Somali elderly men,

women and Somali scholars within the camp. Participants were selected randomly.

1.11 Assumptions of the Study

This study assumed that the Somalis have oral narratives that have be expended from

one generation to another by word of mouth, it also assumes that some of the works

have been written and translated to other languages (African literature). Since women

are seen to expend stories in other African communities, the study assumed the

Somali women are the major expenders of their culture and stories. It is assumed that

the target population was fully represented by the selected sample for the studies.

10
1.12 Operational Definition of Terms

Prosody- this is the tone brought about due to the theme under study. For

instance a happy prosody would be as a result of a joyous

experience.

Eurocentric- this is when an author or a reader thinks with biasness, with

preference to the European written literature.

Orality- mode of expression where words are used and no other

mediums such as writing involved.

Orature- different kinds of African oral works collected. They include

stories, songs and other forms of literature that were performed

orally.

Eschewed- To renounce bad character.

Dexterous- Skillful way of narrating stories. Using different styles to make

literary works interesting to the audiences.

Structuralism- A theory used to analyze literature basing on the structure of

the art.

Ethnocentrism- using your own perception of what is seen to be right and what

is perceived to be wrong, to judge other people people’s culture

and believes.

Folk tales- Stories handed down from the past generation by word of

mouth reflecting people’s beliefs, feelings and culture

Oral stories- Are traditional way of telling stories in the presence of the

audience. The audience and the narrator always exchange ideas

11
 since they are physically in contact. Also referred to as oral

narratives.

Literature in English-Study of texts written in English but with contextual reference

to Somali and African communities such as novel, short stories,

nonfiction and poetry.

Eurocentric- literature written focusing on the native European history and

culture. The stories that have themes of the native European

culture and society.

African literature- literature written by authors from African continent. They do

not necessarily need to be living in the same continent then, but

their works can identified by major themes of Africa

12
 CHAPTER TWO
LITERATURE REVIEW
2.0 Introduction

The Chapter presents the empirical literature, theoretical framework, knowledge gap

and conceptual framework. It also looks at the concepts of oral narratives related to

Somali literature.

2.1 Empirical Literature

Somali oral narratives are evident among the Somali oral literature. Various Somali

narratives such as legendary stories have survived and have been able to be narrated

from one generation to another (Adam, 2005). He also added that most of these

narratives begin with an opening formula - ‘sheekoysheeko, sheekoxariir,’-just like

other African works, it serves as an invitation for audience to participate in the

narration.it has become a challenge to account for Somali globally, who have been

displaced by war, however, the need to learn the language of the countries they

resettle in is high. This is the same case in Dadaab Refugee camp, Kenya.

The Somalis use the basic acquired English language for jobs acquisition purposes. At

the same time, the acquired language gives them ability to resist discrimination from

other tribes, fight against racism and ethnocentrism. Oral stories have however, is

seen as the major contributing factor to learning to leaning of English. The effect of

new language to Somali’s lives has demonstrated need for change of literature from

oral to written. However there exist a gap between oral narratives and contemporary

literature.

13
The SOAS, (2012) center of African literature Critics held a meeting in London to

recognize celebrated writers from Makerere University whose works had been as a

result of oral tradition. This saw the presence of authors from West Africa, East

Africa North Africa and Somali writers in particular were left out as the authors were

few or they did not have works that could be presented then.

Ali Jamile Ahmed, (2002) stated that the Somalis are an oral community. This he

adds that in spite of them constantly changing environment, they still do narrate

stories.

2.2.1 Somali Oral Narratives

Ali Jamila, (2012) stated that the Somali classify into narratives into the ‘sheeko’( a

tale) and sheekaxariiko (a fairy tale). He added that the narratives can also be

classified in terms of time of history and the type of characters used in the narrative.

Fictional narratives are meant to entertain and that the ‘real’ narratives hand down

culture and history of the community. He argues that non fictional narratives are

memorized by everyone and expended majorly by women and to younger generation

as most of the time the young men are in the field herding camels and cows leaving

the women ample time with the children

Jamila, (2002) in his works argued that the Somali narratives are known to

incorporate the use of proverbs and poetry which on most occasions are sang. He

believed that proverbs and poetry use the alliteration technique which gives

information about the traditions of a story teller. Use of proverbs by the narrator

depicts the bond and ethos that hold the community together. Jamila, (2002) quoted

Lindford, (1978) where he stated that a proverb is “a grammar of value” whereby

deeds of a hero can be evaluated. Proverbs in Somali narratives summarizes the

14
themes in the story, through them listeners can identify with the values of the Somali

community. Listeners are also able to remember stories and their moral lesson by

remembering the type of proverb used.

2.2.2 Written Somali Narratives

Oral narratives are also referred to folk tales or oral stories; they have been in

existence in the African communities before the arrival of the colonizers. They are

valued and have specific values to specific African communities (Amali, 2014). When

colonizers arrived in 19th century, they wrote about a dark continent, a continent that

didn’t have culture and tradition, of how they colonized Africans with western ways

through education, clothing and western ways (Nduka, 2014). They believed that

Africa was a continent without values and culture. As a result, several African writers

began writing stories and novels in 1930s in order to counter written European

narratives.

Somalis did not have any written work before 1972; they only depended on the

narration. Written literature began after the influence of colonialism. Writing Somali

oral narratives have seen the Somalis just like the rest of the African countries;

publish oral literatures that are studied all over the world. Though few, compared to

oral literature from west and east of Africa. Fioona Moola, (2009) looked at the

relationship between oral and script in Somali literature, she argued that the Somali

oral narratives do not encounter any major transformation when written; this is in

spite of the worldly view that writing as an onset departure between the artist and the

audience. The audience are required to comprehend an oral narrative and not so in

written text (Fiona Moola, 2010).

15
She stated that written Somali literature has different genres, but most of the genres

contribute in writing novels. This is important to the study since it tries to address the

Somali oral narratives in African literature. Somali writers make use of various oral

literature genres when writing novels. Tala, (2013) commented that most writers

make use of several ‘orature’ in literary writings not only for the purpose of continuity

but to act as a sign of reconciliation between oral and the modern changing world.

Julien also argues that the ‘orature’ in written literary is for the purpose of identity as

the work can be pointed out as African.

2.2.3 Somali Narratives and Learning of English

Taiye Selasi, (2016) argued that literature is dead in Africa. She explains that though

there are published oral stories from Africa all over the world, it is still empty in

Africa. She explained that the study of oral literature is no longer pure as it has

drastically changed to fit the changing world. Charles Simic, (2001) also stated that

communities with oral literature try to fight against it being enclosed to one single

concept.

The Somali, just like the rest of the African countries, have had their works published

and are studied all over the world. Somali Scholars and writers in different European

countries such Prof Ali Jamila, (2005) continues to write about narratives from

Somalia in foreign language. In his defense when asked if there are works that are

considered great, he states that just like “the great American novel,” the Somalis have

the great Somali novels.

Bigelow, (2010) posits that communities that use print language do not understand

why oral traditions are valued by oral communities. She goes ahead to state that one

16
should not undermine language from oral communities. She then argued that it is hard

to understand the Somali culture and how it is related to the forms of oral language.

Farid & Mc Maham, (2002) On the other hand stated that, importance is placed on

written language by the western cultures and they seem not to understand the

importance of the use of oral language and its role in promoting skills and abilities.

Memorization of spoken language in print culture is not necessary as compared to oral

cultures. This explains why language in oral community such as the Somali requires a

lot of memorization. Farid & McMahan, (2004) argued that contributions of literature

should not be undermined, because skills are acquired through memorization and

listening.

Przytula, (2002) described the Somali language and its importance to Somalis back at

home and in diaspora not just for the purpose of communication but as used in the

larger field of education. The rich traditions used; dances, songs, music, folk tales,

prose writing in the Somali community have also contributed in education sector.

Bigelow, (2010) Explains that “orality” is an important artifact of culture for the

Somalis in diaspora. She explains that Somali “orality” has been with them from the

age of oral to the age of written. Meaning for learning of English to take place, then

the first language must have been Somali. Somalis all over the world carry with them

their language. This is why forms of communication of technology have embraced the

Somali language. Bigelow, (2002) goes ahead to argue the developed curriculum,

would help the Somalis understand the Somali culture as well as learn English by

sharing their history, cultural life and folklore in writing.

17
 Bigelow, (2010) developed a curriculum that included both Somali oral folk and

English stories. She also wanted to understand more about the Somali oral stories. Its

intention was to boost participation of Somali students in literature lessons and help

honor the Somali heritage and identify with them. In her research with the English as

a Second Language (ESL), learning instructors, realized that the Somali adult learners

used language rich in Somali culture as a means adapting to a new culture, and a way

of retaining their identity.

Przytula, (2000) argues that the Somalis were able adapt to new culture and

environment with the help of ESL instructors who mainly used Somali folktales,

songs and poems during English lessons. One instructor noted that most of the Somali

narratives are about adjusting to new culture and that most proverbs were good

motivators.

She added that in other instances, use of Somali proverbs by instructors demonstrated

its functions in bringing together the Somali families. It was also noted that folktales

used would motivate youths into adjusting to new life. She posits that folktales ensure

inclusivity in class since when used bring sparks during class discussion. It also helps

students handle challenging situation at home and at work.

Stories have been the promising approach to learning curriculum designed for the

Somali adult students that has long held a significant role added. Additionally, the

older the person is, the more stories they generally have to tell. Stories in Bigelow’s

curriculum were used by Somali adults to learn, share emotional experience and pass

interesting information, knowledge about the culture and connect with their audience

(Prytula, 2010).

18
2.2.4 Structure and Style/Features of Somali Oral Narratives
Somali oral narratives just like narratives from different African societies have

features that distinguish them from the rest of the African narratives. Most Somali

authors incorporate the use of poems and proverbs. Somali are said to be a poetic

community, but that does not mean that they lack narratives. The use of proverbs as

the main feature tends to give contour and specific meaning to their work. Proverbs,

which on most occasions summarizes the whole story, often comes at the end. Somali

proverbs are written in verse form and therefore help the audience remember the

moral lesson of the story as they function as mnemonic devices.

Most Somali proverbs employ poetic techniques such as imagery and sound pattern

such as alliteration and rhyme scheme. Boadi, (1981) argued that Somali narrators

tend to choose different proverbs depending on the level of sophistication of the

narrative. Proverbs, unlike other literature genres are composed using natural

“language” thus seen as ‘uncontaminated’ by other languages and therefore identified

directly by the narrator and the audience. Use of imagery in Somali proverbs on the

other hand makes it an important feature in narratives as the audience identify with

the image in the proverbs.

Somali narratives move from the known to unknown. Thamburaj, (2007) stated that

people learn better when they begin with what they know to what they do not know.

In the same manner Somali narratives move from the known to the unknown.

Considering the fact that the Somalis are pastoralists, they move from one place to

another. From where they call home to unknown destination in search of water and

green pasture. This explains why most narratives utilize journey motif.

19
Just as Campbell’s monomythcic theory explains, for one to be called a hero, they

must take a journey that involves separation – initiation and return. In all the stages

one faces challenges that have to be overcome, only then can it be referred to as

journey motif. Ahmed, (2003) adds that there are three kinds of people not to be taken

on a journey; the greedy, the cowards who cannot lead the way and those who cannot

narrate stories while on the journey.

Protagonist in Somali narratives are often forced to leave their home for other places,

they therefore pass some form of passage, if successful, then they are welcomed not

as “lost son” but as a hero.

The other distinguishable feature is its didactic nature. Aspects of narratives such as

characterization point of view and plot are affected by it. This is because Somali

narrators use (omniscient) third person point of view, this enables them manipulate

the narratives. Ahmed, (2003) in his work stated that the narrator makes subtle and

overt comments about the behavior and attitude of the character by concealing his

subject, thus he allows the audience to criticize the character based on social ideals.

Characters that portray ideals that are bad are subjected to ridicule and humiliation.

On the other hand, characters that are seen to portray what is ideal to the community

are praised. Narratives with such characters tend to describe the character basing on

their physical appearance and clothes worn.

The Somali narratives offer solutions to community problems. Like any other African

narrative, the narratives explain how things happen, why they happen and the

possibilities of what would happen in the future. It gives some kind of blue print of

the community. The existence of myths of Somali origin explains where different

communities came from, this is because they contain history of the community and
20
characters are real. Narratives whose characters are not real such as trickster are

meant for correcting in instilling morals in the community.

2.2.5 Challenges Facing Development of Somali Oral Narratives.

Sir Richard Burton, (1856) became the first traveler in Somali to discover the vast and

rich Somali literature. He documented the Somali poetry in his book First Footsteps

in East Africa, he stated that every Somali man recognized their position in literature

as they valued and memorized Somali poem. Somalis love for poems has promoted

the ideology that poetry is the best mode of communication. Glory given to poets and

poems has led to creation of poetic stereotypes that has been adopted in all Somali

speaking communities from Kenya, Somalia and Ethiopia.

Monopoly enjoyed by Somali poetry is a major contributing factor to lesser number of

narratives known. Somali poetic tree has deep roots that suffocate other forms of

literature. Mohamed Farah, (2009) lamented about the poetic monopoly arguing that it

was about time authors began to recognize the existence of other important genres

such as narratives and theater.

He developed measures to help recognize other genres. He also claimed that the

Somali community was a narrative society and not poetic. This he justified by

claiming that through narratives rules were set, children were entertained and morals

both social and cultural were handed down to young generation. Adams, (2005) also

added that the Somali had narratives even before the emergence of writing in Somalia.

The Somali people enjoy the company they give to one another and scone people who

tend to against that. They also do not like reading and only the “Wadads” religious

leaders are allowed to read Quran so they can hand down know and information about

21
the holy book. This affects Somali literature and its movement from oral to written as

few Somali are literate while the mass are illiterate depending on communication by

word of mouth. The majority, even with technology do not engage in online and

internet services because of illiteracy, this reduces their chances of them sharing their

emotions and views by writing.

With introduction to free education from United Nations and other organizations,

Somalis have gone to school but still do not like reading and writing literary works.

By this in my knowledge I assume they are caught in between leaving their mother

language which they fancy so much and adopting foreign methods of writing. This

can also be seen among the Somali experts who have divided literature into two; oral

literature and written literature. Scholars who appreciate oral literature do so with the

aim of attracting anthropologist from foreign countries, linguists and historians who

are interested in Somali culture. Those who engage in written literature are interested

in literary critics, journalists and for personal fulfillment about the political and

economic purposes.

Said Bare in 1972 introduced the art of writing in Somalia but this did not help the

Somalis as they did not like writing, this instead led to a revolution which led to

modern writing.

Published literature received an impulse in seventies when Said Bare’s government

promoted publication and supported Somali writers/ authors. Even so, old metaphors

from pastoral community continued to be in use. Use of figures such as camel and

other livestock are still in use today. It is however sad that modern young generation

have lost touch with old ways and thus a gap has developed. Those in urban centers

and those abroad cannot understand the nature of their tradition.

22
Finnegan, (2012) argued that when analyzing traditions, there are those who want to

continue with them in modern literary world and those who opt for change. He goes

ahead to say that it is this way that scholars have ignored change in their attempt to

continue with old traditions. He says that scholars see old ways as pure and

uncontaminated and in the process they forget to adopt and appreciate changes. This

thus explains why literary scholars have failed to address the gap in Somali literalness

in the contemporary literature.

2.2.6 Change of Environment as Experienced by the Somalis of Horn of Africa

Somalis are based in different countries; Ethiopia, Somalia, Kenya, and Djibouti.

They were colonized by the British Italians and the Germans. This led to each Somali

community remaining in the area of their colonizers; however, all of them are united

by language and similar cultural practices.

Drake and Mutua-Kombo, (2009) noted that the Somalis are forced to adapt to the

changing culture and tradition due to their constant movement. They have been forced

to learn new language for the purpose of navigating the changing world. Most are

going to school with the hopes of getting employed; they however do not abandon

their cultural ways.

The older generations have tried to advocate for preservation of culture, traditions and

language. The call for preservation of these cultures was witnessed in Zimbabwe

during the African cultural heritage and the world heritage in the year 1995. Ngugi wa

Thiongo, (1896) then stated that there is less percentage of representation of tradition

as compared to overwhelming overrepresentation of the European culture, which

includes Christianity and certain historical periods. The Somali elders fear total

23
immersion of the younger generations to western culture. They fear losing their own

identity at the expense of acquiring new language. With the hope that Somali was

peaceful at some point, they hope that “their language” can still survive in this diverse

environment.

War in Somali has pushed many Somalis into for better peaceful places to stay such

as in Kenya, South Africa, North America and Australia. Cultural change and

language change has led to concerns. This is why Martin and Nakayama, (2003)

explain how the Somali language plays an important role of identity. He explains that

it is the only tool that can identify them wherever they are. This is justified when

Adam, (2005) stated that language is not just about words, but life and culture of

Somalis put together.

Environment is one of the reasons why the Somali narratives have complex structures

(Labov, 2006). This, he states have been contributed by the complexities of their

environment. He add that written oral stories are always long as there are several

styles involved in writing as compared to narrated stories. Lakoff & Johnson, (2008)

argue that written stories change depending on then writer. He states that this is so,

since normal conversation features are popular in contemporary writing.

2.2.7 Trans-culturalism and its Influence to Somali Traditions

Fernando Ortiz, (1940) stated that trans-culturalism is the extent to which humans

learn different cultures and incorporate them as if they were their own. They see

themselves in the other culture; components of different cultures become accepted.

The idea of creating a one culture society by coping and living a one culture that is

believed to be the best or civilized.

24
Culture has led to reduced knowledge systems from communities with varied

cultural heritage. The idea of globalization by use of modern technology, through

education and religious practices is what has promoted trans-culturalsm. It has led

to identity crisis among African communities. Global culture has “swallowed”

several African communities rendering them extinct.

Professor Nkem Okoh, (2012) stated that rigorous measures must be taken in order

to liberate African literature. The idea is supported by Okoh, (2010) who states that

literature both written and oral can define communities’ principles.

Modern education has replaced the role of traditions. It has brought with it god and

bad culture to the society. This is seen when Martha Nussbaum, (2010) who

quoted Rabindranath Tagore, (1917) who argued that educated generation think of

themselves, they are well enough to use the machines but cannot take care of the

sufferings of the society.

The urge by western cultures to realize economic power is what has promoted

trans-culturalism. The lesser communities have been forced to join in in the name

of development. This in the end has led to individualism with many nations losing

their humanistic values in the process (Nussbaum Martha, 2010). This is the reason

why Somalis have emphasized on spoken Somali language.

Human life and literature depend on one another, it is therefore important that the

Africans protect literary heritage before placing importance on technology. This

way they were able to use technology to their advantage. Lorna, (2012) posits that

literature is very important in Kenya that is why it is why it is studied in Kenyan

curriculum.

25
Dare, (2010) explained that the colonizers destroyed the African traditions and pure

cultural ways. The system of education and new culture and religion led to

development of harsh traditions. It is some of these harsh cultures that have led to

political instability in Somali. The movement to new countries has led to Somali

learning new languages for the purpose of communication and livelihood. The

Somali children all over the world are therefore required to learn and speak in their

mother language, attend madrassa up to a certain age, thereafter undertake secular

lessons.

The secular education is meant to help them preserve their culture. The elders and

scholars outside Somali have advocated for the use of technology to preserve

traditions.

2.3 Theoretical Framework

The theories employed in the study are the psychoanalysis theory and cultural

materialism theory. Both are employed in the explanation of the relations between

oral literature and written literature.

2.3.1 Structuralism
The proponent of structuralism is Ferdinand de Saussure he founded the structuralism

theory between 1857 -1913. In his argument, structuralism theory is based on how the

people see and perceive the world, what they imagine and what exists on the real

world. It claims that things need to be seen as a larger part of what exists.

Structuralism believes that there is a relationship between units and rules.

When two readers read a novel, for instance ‘Blossoms of savannah,’ by ole Kulet, a

common reader will see Kulet’s narration, his eloquence in dealing with the theme of

26
true change and his understanding of the human emotions. Structuralism on the other

hand will enquire about the genre of the novel and the underlying reasons behind the

writing.

2.3.2 Structuralism and literature

Structuralism believe that literary world is guided by binary oppositions and that

imaginative literature has a sign and signifier place on themes and what the author

talks about. The oppositions include modern and traditionalism. Structuralism critics

use this binary opposition to understand both written and un-written literature.

Structuralism believes that signs in literature carry larger cultural meanings. For

instance, when Okonkwo commits suicide due to rejection, the whole community is

portrayed as betrayers of old culture. They betray their own old ways by accepting the

new ways of the missionaries. The idea of ‘subject ‘in structuralism promotes the

idea that ‘no man is an island ‘and that human beings depend on one another thus

rules are formed for peaceful coexistence. ‘Subject’ in a piece of literary world leads

to the idea of motive, when analyzing imaginative literary work, critics will argue that

desire is culturally instigated. It argues that a man has the ability to contain his

desires; the ability to contain desire is referred to as stability, when Okonkwo kills his

adaptive son, and his stability is questioned.

Structuralism does not challenge the meaningfulness of human life but attempts to

dethrone the ideology of ego. To understand how culture shapes human, choices they

make, force behind the choices, and consequences of the choices made.

27
Semiotics in structuralism enables literary critic to see oral stories and texts as

compositions assigned meanings and signs with the relationship derived by

interpreting the signs. Text can also be analyzed historically.

Structuralisms argue that literature both oral and written is better understood when

classified in terms of its relationship to the entire system. Through the relationship,

what human or specific community does and think is understood since part of a whole

system is looked into. Structuralism believes that every text has its own structure and

can be understood based on the structures.

2.3.4 Psychoanalytic theory and Study of Literature

Psychoanalytic criticism uses Freud’s theory (1956) where he talked about the

character’s and the author’s state of mind. Freud is the founder of psychoanalysis

theory. He sought to explore literature by examining how the following issues were

brought out in a literary text; mental and psychological development of humans, how

human brain works, understanding some of the causes of psychological problem and

how the id, ego and super ego are represented in a piece of literature.

There are three areas to look into when analyzing literature using psychoanalysis

criticism the author, character and audience. Psychoanalyst view authors work as

feelings expressed in writing, their desires and anxieties.

Freud believed that through text, authors’ unresolved emotions, psychological

conflicts, gilts, ambivalences are expressed. Freud explained the theory using Oedipus

conflict and the inability of hamlet to act. Through it Oedipus guilt feelings and the

role the characters played is expressed. Literature tries to identify with Sigmund

Freud’s development stages -Oral, anal, urethral, and phallic- where when one stage is

28
missed then consequences are realized. Fantasies are seen in those stages in the same

way different characters bring about fantasy in different literary work.

Adult (behavior and feeling thought)

Parent child (feeling from childhood experiences)

(Behavior copied from parents)

Figure 1: Behavior development stages.

The above stages show that the developmental stages are affected by the environment

right from the young age to an adult stage. The theory is therefore important to the

study as Somali literary works was classified into different forms during the analysis.

When reading a text, the reader identifies with the characters and the life portrayed in

the text.

Frankland, Graham, (2000) argued that Psychoanalysis promotes therapy as

someone’s life is narrated in a humorous manner. The idea of motive and suspicion is

discussed by Freud. He added that when reading a text or listening to a narrative, the

audiences both active and passive seeks to understand characters’ actions.

Literatures explain who does what to whom and what happens there after. This can be

compared to psychoanalysis since it addresses the issue of the actions of the

characters. Maria, (2014) argued that one should be able to identify with culture when

reading literature and not just the actions of the story. This way, a reader is able to

understand what is viewed as good and evil in the author’s community.

29
 2.4 Conceptual Framework

Independent variables
Somali literature challenges.

 Poetic monopoly
Dependent variables

Classification of Somali -Contemporary Emergent

narratives Somali Oral literary works.
 Time bound
-Recording Somali Oral
 Time free narratives
Literature

Features of Somali oral

narratives
 Didactic
 Use proverbs and poetry.
 Move from known to
unknown
 Offer solution to existing
problems

Literary Conflicts

 Traditions
 Modern culture Intervening variables

-Reliable translators
-Availability of Somali oral
narratives in African
literary work.

Figure 2: Conceptual Framework

According to figure 2, the availability of contemporary emergent Somali oral

narratives and the recording of Somali oral literature rely on both independent

30
variables and the intervening variables. Poetic monopoly enjoyed by the Somali

speakers has pushed researchers into finding out whether the community has any oral

narratives in bit to save them from extinct. The Somali oral narrative genres and there

nature have also contribute to contemporary literature. Some of the features evident in

narration can be clearly seen in recorded Somali literature. Finally, some conflicts

have contributed to contemporary Somali literature with the aid of translators and

writers as intervening variables.

2.5 Research Gaps

It is undeniable fact that African continent is full of culture and tradition, which has

been expressed in arts craft, through language, folklore and modernly read in books.

Several African literary books contain written traditions from different communities.

For instance works of literature from authors such as Ngugi Wa Thiongo of Kenya,

M.G. Vasanji of Tanzania and Abdulrazak Gurnah of Zanzibar. It is however

saddening to note that written literature from Somali community has not been felt

even to neighboring countries yet they are considered an oral community by several

researchers.

2.6 Summary of Literature Review

The chapter discusses Somali narratives, there influence in learning literature and

English, features of Somali narratives, factors that have slowed down the

development of Somali narratives from oral to written and how culture has

contributed to written Somali literature in English. The chapter also discusses the

theories used; structuralism and psychoanalysis theory and finally research gap has

been identified.

31
 CHAPTER THREE
RESEARCH METHODOLOGY
3.0 Introduction

The chapter examines the methodology and the procedure of acquiring data was

discussed. The chapter is divided into; research design, target population, data

collection instruments, data collection method, sampling techniques reliability and

validity of the research in the study and data analysis procedure.

3.1 Research Methodology

The study adopted a qualitative research methodology. This method emphasizes on

use of words to collect data rather than using figures. Collected data through

interviews and focus group discussion was analyzed to help understand the Somali

oral narratives.

3.2 Research Design

Creswell and Poth, (2017) defined research design as procedure of attaining desired

relationship pattern between the variables and the problem pattern and the procedure

used in obtaining the evidence of the relationships.

This study adopted phenomenology research design. Phenomenology design focuses

on nature of a particular idea (Creswell, 2013). Somali oral narratives, factors that

slow down the development of oral narratives and literary conflicts in Somali

narratives are the phenomenon to be looked into using the design.

32
3.3 Location of the Study

This study was done in Dadaab Refugee Camp, in Garisa County. It is a semi-arid

area, densely populated and covers a stretch of over 50 square kilometers of North

Eastern Kenya with the camps located within a radius of 8km.

3.4 Target Population

Conway and Powell, (2010) defined target population as, individuals with similar

characteristics identified for a research. The research study targeted 112,112 Somali

elders, women and scholars.

Table 1: Target Population

Camp Target population %

Dagahaley 29,668 26.5

Ifo 1 30280 27

Ifo 2 11,917 10.6

Hagadera 40247 35.9

Total 112112 100

Source: United Nations High Commission for Refugees 2017 Report

3.5 Sampling Procedure and Sample Size

Miles, Huberman and Saldana (2014) stated that in qualitative sampling, smaller

group of people or objects are selected to give important information that helped the

researcher understand a particular occurrence. Sample size should be selected

according to what one wants to know, the reason of the inquiry, available time and

resources and what was useful for the research (Patton, 2002). The researcher adopted

Yamane’s’ formula to get the sample size.

33
n=N/{1+(Nr2)}

Where:

n represents sample size.

N represents total population.

r represents margin of error.

The study employed purposive sampling. Purposive sampling according to Cohen,

Manion, & Morrison, (2007) is the handpicking of individuals that satisfy the needs of

the research. Creswell, (2013) argued that purposive sampling is the intentional

selection of individuals and sites to learn about a phenomenon. Samples 100 Somali

elders, Somali women narrators and scholars were picked based on their years of stay

in Dadaab and their knowledge on Somali oral stories. Some scholars were selected to

help the resource person identify participants.

Table 2: Sample Size

Camp Sample size %

Dagahaley 26 26.5

Ifo 1 27 27

Ifo 2 11 10.6

Hagadera 36 35.9

Total 100 100

Source: Researcher

34
3.6 Description of Research Instruments

Data generation refer to a set of procedures or techniques for generating and

analyzing qualitative data. Creswell, (2009) defines research methods as the tools

used to gather data. The study employed scheduled interview technique, use of

focused group discussions and document analysis as the main techniques of data

generation.

3.6.1 Interviews
An interview is a purposeful interaction in which one person obtains information from

another (Miles et al, 2014). Qualitative interviews occur when a researcher asks one

or more questions and records their responses. An interview is a face to face

interaction between participants and the researcher where information is given to the

interviewer (Creswell 2012). Interviews help researcher get meaning from a

participant as stated by McNamara (2010). The process always involves use of open

questions where the participants give impartial answers and closed-ended questions

with specific response to be given. The study therefore employed both structured and

unstructured interviews. With the two types of interviews, the study allowed the

participants to address the literariness as well as contemporary Somali oral narratives.

3.6.2 Document Analysis

Bowen (2009) argued that document analysis involves placing contents into groups in

the same way interview data is analyzed. Data was collected from public records such

as organization’s activities and annual reports. Personal documents such as journal

and newspaper report were also analyzed; Somali physical evidence (artifacts) was

also looked into. This was important to the researcher as she reviewed various

35
literatures of the Somalis written by different authors. Information obtained fostered

new knowledge in the study of Somali narratives

3.6.3 Focus Group Discussion

Discussion was conducted with the selected groups in order to address the gap.

3.7 Piloting

A pilot study is a mini study conducted for the purpose of testing research procedure,

data collection instruments and presentation techniques. Piloting was conducted

within two weeks in Hagadera and Dagahaley in order to ascertain that the research

instruments are valid and can be relied on. Through it feasibility of research proposal

was known. It was conducted on a group that was not form the larger part of the main

research population. This helped identify any potential problem with research

instrument that was rectified before the main research. Furthermore, piloting helped

the researcher get acquainted with the research procedures.

3.8 Testing for Validity and Reliability of the study instruments.

Patton (2002) stated that validity is measured according to the degree in which

propositions conform to what is termed as the truth. While reliability refers to the

degree to which data obtained using a particular research instrument remains

consistent. In this study, validity of the instrument was determined by discussing the

items in the instrument with the supervisor while Mugenda’s, (2003) test-retest

method was used to measure reliability of the instrument. Interview schedules were

carried out twice within two weeks to establish the extent to which the interview

questions elicited similar response.

36
3.9 Description of Data Collection Procedures

There was a procedure for collection of data; first, the researcher was required to get

an introductory letter from the Mount Kenya University. Second, a permit from the

National Commission for Science, Technology & Innovation (NACOSTI) was

obtained; thereafter the researcher was able to collect data from the field. Primary data

was collected using interviews. Obtained data was categorized according to

appropriateness to the research objectives.

3.10 Data Analysis and Presentation Technique

Collected raw data is analyzed for the purpose of finding connection with the text

(Miles et al, 2013). In order to bring meaning from obtained data, the data is

organized and numbered in order analyze them according to the order of to the text

(Cohen et al, 2006).

3.11 Ethical Considerations

3.11.1 Informed Consent

Creswell, (2017) argued that the risk and benefits should be informed and the

participants allowed to make decisions for themselves if to participate or not. The

study participants was given full information on the topic to be covered, the benefits

and the risks involved in participation. This was then informed the participants who

were of sound mind make informed decision over participation.

3.11.2 Anonymity
Research should always be geared towards protecting the participant’s privacy

through anonymity (Gregory, 2003). Anonymity is where the researcher cannot

connect the responses to the participants (Creswell, 2007). In this study pseudonyms

37
were used to cover the identity of respondents in their drawings. This prevented them

from being identified by their colleagues during the focus group discussions

3.11.3 Summary
This chapter has discussed the methodological blue print of research. It has the

design, approach of the study, the methods of data generation, trustworthiness as well

as the ethical considerations to be followed by the researcher in the study.

38
 CHAPTER FOUR: DATA ANALYSIS, INTERPRETATION, AND
DISCUSSIONS
4.1 Introduction

The purpose of this study was to analyze the literary characteristics of oral narratives

in Somalia and their role in the literature spoken in the Dadabu refugee camp in

Garissa County. This chapter presents the research results according to the research

objectives, including: to identify and analyze the origin of Somali oral story genre and

the role of Somali oral literature. Investigate the nature and characteristics of the style

depicted in the Somali shoe story told by the shoe artist. Analyze and evaluate the

challenges facing the development of oral stories in Somalia and how they can be

documented as oral literature presented by oral artists, how oral stories have been

influenced by culturalism, and how new Judging how it was influenced by the genre

of oral literature.

4.2 Response Rate

The survey targets Somali elders, women, and academics in the Dadabu refugee

camp in Garissa County. The survey sampled 100 respondents, allowing data to be

collected from all respondents. This represents a 100% response rate. This was

confirmed by Field (2013), who pointed out that a response rate of 75% or higher was

adequate for data analysis.

4.3 Background Information

The survey was to confirm the background information of the respondents. The

survey aimed to set the gender, age, and highest education level of the respondents.

39
For background information, it was meant to provide relevant data for respondents.

The research results were as follows.

4.3.1 Distribution of Respondents by Gender

The investigation aimed to establish the distribution of respondents by gender. These

findings are shown in Table 3.

Table 3: Gender of the Respondents

Gender Frequency Percent

Male 62 62.0
Female 38 38.0
Total 100 100.0
Source: Field Data (2021)

The findings of study on the gender of the respondents showed that 62 (62.0%) were

male while 38 (38.0%) were female. This illustrates that most of the respondents were

male. It also indicates that the investigation accomplished to decrease the influence of

gender biasness by gathering data from both genders and their sentiments were

embodied in the investigation.

4.3.2 Distribution of Respondents by Age Brackets of the Respondents

The investigation aimed to determine the age distribution of respondents and the

results were as presented in Table 4.

Table 4: Age Brackets of the Respondents

Years of work Frequency Percent

Below 30 Years 10 10.0
30-40 Years 43 43.0
41-50 Years 45 45.0
Over 50 years 2 2.0
Total 100 100
Source: Field Data (2021)
40
 The survey on the age of the respondents showed that 10 of the respondents (10.0%)

were under age. 43 (43.0%) aged 3140 years. 45 (45.0%) were 4150 years old,

whereas 2 (2.0%) were over 50 years old. This means that the majority of participants

are 4150 years old, and data was collected from all age groups represented in the

survey.

4.3.3 Distribution of Respondents by Highest Level of Education

The investigation aimed to determine the distribution of respondents by the highest

level of education and the results were as presented in Table 5.

Table 5: Highest Level of Education of the Respondents

Educational Level Frequency Percent

High school 34 34.0
Diploma 37 37.0
University education 29 29.0
Total 100 100
Source: Field Data (2021)

The findings of the study on the level of education of the participants revealed that 37

(37.0%) were diploma holders; 29 (29.0%) had attained university education; 34

(34.0%) had attained high school education. This gives the implication that the

participants were well-informed and consequently understood the investigation

questions and this may be inferred to mean that the participants gave well-informed

view of the investigation questions.

4.4 Descriptive Findings and Discussions

In this section, the investigation aimed to answer the objectives of the study which

included; to identify and analyze genres of Somali oral narratives, their origins, and

role in the oral literature of Somalis; to examine the nature and features of style
41
depicted in Somali oral narratives as narrated by oral artists; to analyze and assess

challenges facing the development of Somali oral narratives and how they can be

recorded as oral literature as rendered by oral artists and to determine how oral

narratives have been affected by trans-culturalism and as an emergent oral literature

genre in Dadaab Refugee Camp. The study results were as presented.

4.4.1 The genres of Somali Oral Narratives, the Origins, and Role in Oral
Literature of Somalis
In this first objective, the study aimed to identify and analyze genres of Somali oral

narratives, their origins, and their role in the oral literature of Somalis. Concerning the

origin of the oral literature; the study showed that Somali literature originated across

the early 20th century and initially existed in several distinct scripts.

Popular letters and spellings were officially most easily introduced by the Mohammed

Siyad Barre government in October 1972. Andrzejewski identifies three categories of

text in works centered around the mid-20th century, especially in the evaluation of

"preserver", "converter" and "innovation" works. The best first class is associated

with the issue of interest here. He calls the writer who really wants to leave the story

or poetry written by the storyteller as a "preservator". In some of the Preservator's

works, Cumar Aw Nuux, the time of the traditional prose narrative anthology and oral

poet Xaaji Aadan Axmed, collected through his Muuse Xaaji Ismaaciil Galaal titled

Hikmad Soomaali or Somali Wisdom. Notice that you used and edited it. , Among

other works. Andrzejewski uses the term "converter" for writers whose Somali

tradition belongs to other genres of literature, but uses texts and themes derived from

oral sources as an important element of their work. The study also stated that by

October 21, 1972, the majority of respondents had no legal spelling of Somalia, so the
42
Somali literature began relatively recently. Prior to that, people and small

organizations used various writing systems, but since the present (20th century),

books written in Somalia and handwriting have been reissued through Somali writers.

It is known that it does not come.

One of the respondents noted;

"The lack of spelling before 1972 prevents, but not now, the literary genius of the Somali

country from being expressed in a completely powerful way. Since ancient times, Somalis

have played an important role in the Somali subculture. The various types of oral literature

that are in charge and still occupy are prosperous, and now the oral transmission when

coming from beyond is not the most effective, but the introduction of all additional modems

Included. Frequently talked about when and talked about "

Somali poetic art is characterized by heavy demands when speaking the poet's native

language. The dark tools, extended to every line of the city, demand vibrant

information on Gore and poetic vocabulary, as well as the real power of surprisingly

complex linguistic forms. It can be mentioned that this acts as a powerful stimulant

for poetic creativity and is an alternative to restraining those with little literary talent.

Keep in mind that some conversations in Somali literature written are also direct

descendants of current oral literature and have not increased only under the stimulus

of further influence outside the United States. Is important. Simply as a reaction to the

introduction of recording media. Although too early to attempt a full assessment,

some trends can already be identified and it is possible to group Somali writers into

three classes. Beneficial causes in early category attempts.

43
These findings were supported by Moola (2010) who stated that Somalis did not have

any written work before 1972; they only depended on the narration. Written literature

began after the influence of colonialism. Writing Somali oral narratives have seen the

Somalis just like the rest of the African countries; publish oral literature that is studied

all over the world. Though few, compared to oral literature from west and east of

Africa. Moola (2009) looked at the relationship between oral and script in Somali

literature, she argued that the Somali oral narratives do not encounter any major

transformation when written; this is despite the worldly view that writing is an onset

departure between the artist and the audience. The audience is required to

comprehend an oral narrative and not so in written text.

Furthermore, the study found out that the Somali as the afar is originally traditional

society using the same forms of literature, such as asking a question (googalaysi),

storytelling (sheeko sheeko), initiation to the rhythm and sounds (carabjabin),

proverbs (mahmaah), and the poetry divided into HEELLO, the folklore, and

MAANSO oral poetry. These are commonly called SUUGAAN.

One of the study participants asserted that;

“The type of oral literature time in Somalia shows the life of a clear difference

between stories that appear to be real, i.e. depictions of real people or stories

that have an ancient basis for real opportunities. A story intended to teach a

lesson. This does not mean that the first form now provides no additional moral

lesson. The difference lies in the seriousness of the narrative as it is directed. The

difference is also that individual value judgments It contains Somalia's historical

44
 stories under the definition with "real" skills of "real" people, giving it a better

status. As a result, adolescents and adults are expected to remember the debt.

These findings were similarly found by Jamila, (2012) who stated that the Somali

classify into narratives into the ‘sheeko’ (a tale) and sheekaxariiko (a fairy tale). The

narratives can also be classified in terms of the time of history and the type of

characters used in the narrative. Fictional narratives are meant to entertain and that the

‘real’ narratives hand down the culture and history of the community. Non-fictional

narratives are memorized by everyone and expended majorly by women and to the

younger generation as most of the time the young men are in the field herding camels

and cows leaving the women ample time with the children. Moreover, Jamila (2002)

argued that the Somali narratives are known to incorporate the use of proverbs and

poetry which on most occasions are sang. The proverbs and poetry use the alliteration

technique which gives information about the traditions of a storyteller. The use of

proverbs by the narrator depicts the bond and ethos that hold the community together.

The genres of Somalia extend a great object and many different types that adapt and

alternate over the years and with a way of life. Drawing songs describe rural activities

with camels as one of Somalia's oldest oral troughs. Even if these poems (commonly

known who are known as Hee) are not due to men or women's poets, a larger Maanso

genre includes poetry works with composers, which are definitely considered:

Content text usually exists and means that he is reminiscent of a SOKNOWN as a

reader to original. Previously, the recorder was great in the sixties, oral poetry was

remembered in original. The heads in the context of Somalia from the recordings of

West Africa or Yugoslavian species were converted into a professional poet, but only

45
as mediators of poetry text (never to a deadline EPIC), solve the common goal of the

audience and claim a poem for fate Generations (Andrzejewski, 2011). The poems are

constantly sent to a particular line in flip, causing feedback and create a poetic cord

(Silsila). Two of the most famous people on this topic are the Silinley in the early

1970s and in Deelley in 1979-80 (collection of poems named after the programs

dedicated to them). They used political poetry. One of the most popular meters from

the seventies is Jifto (Orwin, 2012). refers to the role of the Mouth, the research

results show the history of Somalia Answers for existing problems. They help the

network build cards, a design of a type. In addition, they bring comfort because they

have money for the community to make a precious perception in confusing problems

they waving, a precious perception. In fast, stories that came a statement by the way,

for example, came the problems here, and why they are what they are. Somalia oral

stories are completed with air-sniffing memories to explain what and that's back. The

memories of exploring and providing representatives of social relations and social

space. They also offer a cognitive relationship with a narrative in the civil region.

Like any other African narrative, the narratives explain how things happen, why they

happen and the possibilities of what would happen in the future. It gives some kind of

blueprint of the community. The existence of myths of Somali origin explains where

different communities came from, this is because they contain the history of the

community and the characters are real. Narratives whose characters are not real such

as tricksters are meant for correcting in instilling morals in the community.

Finally, the Somali eloquence serves as a useful reminder that the dichotomy of

"dictation" and "reading and writing" and all the stereotypes that implement them

46
jointly constitute an interfering analytical paradigm. When Somali narration strategies

people with homes to throw by literary concepts, it brings the poet's creative

emergence to the fore as it is screened by other traditions. The time of Somalia also

shakes the evolutionary paradigm of achieving the modern teleological development

of letters by word of mouth. Somali eloquence, no longer thousands of years, has co-

existed with literature for hundreds of years (but now it is not print capitalism). The

social horizons in which individuals are beginning to consist of Somali cultural

bureaucracy help remind us of philosophical inevitability. Take verbal or literary

expressions.

4.4.2 The Nature and Features of Style Depicted in Somali Oral Narratives
Under the second objective, the study aimed at examining the nature and features of

style depicted in Somali oral narratives as narrated by oral artists.

Studies show that most Somali stories are lessons learned. This affects many elements

of the story, including order characteristics, perspectives, and so on. The narrator

utilizes a perspective that provides ample freedom to control the memory of the story.

This perspective is generally the voice of an omnipotent, omnipotent third party. The

speaker vaguely hides his subjectivity. In fact, he creates each distributed and clear

feedback about each person's posture and movements. The narrator is not currently

minimizing the character's shocking dissatisfaction with the departure from social

ideals. Such characters mocking and sometimes even humiliating them can be

problematic. The narrator sometimes allows the only person to be considered a villain

by others, depending on his version of the ideal detour. The narrator sometimes

describes his personality with the help of his looks and the kind of clothes he has. The

47
narrator also gives the target audience a good personal account of their mood. These

techniques have an affinity for traditional Somali epics.

These findings are Ahmed (2003) in which the audience criticizes the characters

based on social ideals by hiding the subject and making subtle explicit comments

about the characters' behaviors and attitudes. Consistent with the discovery of.

Characters that portray more than bad are ridiculed and humiliated. On the other hand,

the characters that show the ideal appearance of society have been well received. The

stories of these characters tend to portray them in looks and attire.

One of the study respondents said that;

"The greatest Somali story's geographic shift changes from known to unknown and then

back to known. The story is to emulate the paradigm of pass-through, especially the

content of secessionist incorporation."

Like other African societies, the Somali narration remains and has characteristics that

distinguish it from African stories. Most Somali writers use time and sayings. Somalia

is a poetic community, but that doesn't mean there is a shortage of scribes. Using

proverbs as the main feature tends to give the work contours and concrete meaning. In

most cases, the proverbs that summarize the whole story often appear at the end.

Somali proverbs are created in the form of poetry and help viewers act as mnemonic

devices to remember the moral lessons of the story.

One of the respondents said that;

48
"In connection with the case of Somali eloquence, what is fascinating, on the one hand,

seems to destabilize many homes in the worldview of eloquence and literature. For

example, the text in the joint" us "of the shoe lifestyle. From the perspective of an

evolutionary version that envisions a conversion to the "I" of literary individualism,

Somalia is completely verbal and looks more "individualist" than many literacy modes in

terms of overall performance.

Most Somali proverbs employ poetic techniques such as imagery and sound pattern

such as alliteration and rhyme scheme. These results were supported by Boadi (1981)

who argued that Somali narrators tend to choose different proverbs depending on the

level of sophistication of the narrative. Proverbs, unlike other literary genres, are

composed using natural “language” thus seen as ‘uncontaminated’ by other languages

and therefore identified directly by the narrator and the audience. The use of imagery

in Somali proverbs on the other hand makes it an important feature in narratives as the

audience identifies with the image in the proverbs.

The study further indicated that the Somali narratives move from the known to the

unknown. In the same manner, Somali narratives move from the known to the

unknown. One of the respondents highlighted that;

“Because the Somalis are pastoralists, they move from one place to

another”

From where they call home to an unknown destination in search of water and green

pasture. This explains why most narratives utilize the journey motif. This finding was

supported by Thamburaj (2007) who stated that people learn better when they begin

with what they know to what they do not know.

49
This study also investigated that Somali oral literature employs many techniques more

related to the 'literary' mode. A Somali oral poem is an example of "reciprocity" that

has hinted at other oral poems. For example, Samataru's study of the "harugumo

chain" of poetry, begun in early 1978, certainly reveals a suggestive complex

community as opposed to the allusion to which Somali poetry borrows it. There are

also examples of poems: In a poem compiled by Andrzejewski and Lewis, examples

are mentioned in the pre-Islamic Arab oral subculture of Somali poetry. It was also

revealed that during the Somali oral tradition, it was structured in a social structure

and performed a position comparable to the media famous for its printing subculture.

One of the first recorded descriptions of the Somalis can be found in Richard Button's

Travels, First Footprints in East Africa. Button is defined as Somalia's "country full of

poets, poets, poets and poets." But always, especially during times of political

struggle, poets occupy the function of the information medium in the modern

globalized world. However, there is one important difference for employers of poets

to inform and persuade. While modern news media is building ethical horizons in

procedurally rational essential discourse, oral poets appeal to practically rational

codes of conduct constructed through the social life of people and religions. Somali

oral warfare also responds to and intervenes in daily trials and tribulations. For

example, the Somalian poet of the diaspora, Ewa Jibril, composed poetry to clarify his

discontent with his younger brother at the age of 12, and to later turn down offers of

marriage.

One of the respondents highlighted that; -

50
“In general, Somali narration poetry is innovatively important and linguistic in the

way that other African and international narrations are visually better than poetic

traditions and perhaps force the reprocessing of such traditional homes. It pushes the

composition of talented artists to the fore.”

Somali oral verse also challenges the idea that “Africa” is orality and orality is

basically “African.”

Somali scholars suggest that;

“In contrast to the general notion, Somalis seem to be more familiar with pre-

colonial subcultures than they are now seeing.”

The guidelines for this idea include a linguistic, commercial, ethnic, and cultural

connection to the historic, Egyptian kingdom of Egypt, and close contact with the

three "eBook religions." increase. In that respect, in fact, any part of Africa could be

said to have existed in a country of raw oral tradition of "chastity." However, the

Somalis have maintained an ambiguous attitude about literacy, with rumors that they

are not convinced using the revolutionary evolutionary model.

4.4.3 The Challenges Facing Development of Somali Oral Narratives

One of the respondents said that;

“The Somali elders fear total immersion of the younger generations to western

culture. They fear losing their own identity at the expense of acquiring a new

language. With the hope that Somali was peaceful at some point, they hope

that “their language” can still survive in this diverse environment”.

51
This implies that the change of culture and language has led to these concerns by the

Somali elders. This is why Martin and Nakayama (2003) explain how the Somali

language plays an important role in identity. They explain that the Somali language is

the only tool that can identify them wherever they are. This is justified when Adam

(2005) stated that language is not just about words, but the life and culture of Somalis

put together. Furthermore, Labov (2006) argues that the environment is one of the

reasons why the Somali narratives have complex structures. This, Labov states have

been contributed by the complexities of their environment. He adds that written oral

stories are always long as there are several styles involved in writing as compared to

narrated stories.

4.4.4 Effect of Trans-culturalism on Oral narratives

In the fourth and the last objective, the investigation aimed to determine how oral

narratives have been affected by trans-culturalism and as an emergent oral literature

genre.

Studies have shown that superculturalism emphasizes the existence of a single culture

and a single language in the universe, resulting in a literary growth and an inherent

linguistic tradition in it, with multiple linguistic backgrounds and oral traditions. We

cannot hope to convey the understanding structure of Africa, which is prosperous in

heritage. The concepts of transculturation, globalization, and improved monetary and

information generation are important and applicable in their own right, but with the

African lifestyle already endangered by the practice of modern media. Integrate the

ability to negatively impact the growth of identity. Therefore, the liberation of the

African spirit may be urgently required, but how can this be done other than by

52
looking at oral literature and the associated lifestyle and knowledge structure? The

emphasizes the desire for greater life and the zeal for a consistent study of literary and

humanistic topics, primarily for the success of the greatest favorable liberation.

Professor Nkem Okoh posits that

“We live in an era that is clearly supported and driven by the two forces of

technology and the age. The era in which a cooperative plan for entrusting art to

the historical past is coming up is far away. It is the era of rapid technological

advancement, more amazing technology, and the humanities terribly distorted

funds are scarce and weakened.”

Professor Nkem Okoh (2012) said that strict measures must be taken to liberate African

literature. This idea is supported by Okoh (2010), who says that written and legendary

literature can define the principles of the community. Okoh states that "literature (verbal

or written) can now be treated as itself, not just a person or a letter, but at the heart of

humanistic literary research in each individual's life. Attention as essential and essential

in Martha Nussbaum (explanation of the efficiency of international disasters in the field of

education by the enormous global silence disaster that threatens the future of democratic

autonomy and the oblivion of humanist research. 2010) Percentage Rabindraath Tagore

(1917), Indian Literature Claiming to Hold the Digit in Changeable Educational Regions;

"It produces machines that will be useful for generations to come, in contrast

to the entire population who can think for themselves, criticize life and

understand the importance of suffering and performance for other men and

women."

This is happening in a reality where globalization and culturalism are rapidly declining

humanism and humanistic studies chosen for technological advances with the aim of

forcing a global financial village. Announcing an idea education package that serves as a
53
bait for a third global nation, defenseless to greed, which expands the capitalist empire,

secures maximum economic benefit and provides the most convenient for governments

and intelligences to provide intermediate entertainment from neighboring countries in

general and completely forget about the public. Pursuit. Therefore, Nusbaumu himself

specifies the adjustment to be included, but is not limited thereto

“The humanities and the arts are actually separated from schooling in each

primary, secondary and university/university in each country of the world. The

reason is that while countries need to change their priorities "to remain

competitive in the international market", these are all at once useless frills.”

She in addition provides that

“Overseas locations are missing out on eccentric and innovative issues that can

be seen as "anthropocentric elements of technology and social technology," and

international locations are globalizing.”

Finally, in Nusbaumu's opinion, "the sector in which we live is (now) driven by the forces

of endless financial interests and mechanical tastes for effective citizens" African

Traditions and the Twin Principles of Globalization and Culturalism through nudity in the

discourse created by the humanities. Technological advances and cutting-edge

enthusiasm for the changing times, even apparent with science-selective admissions

regulations, continue to cloud the boom and development of culture, along with

innovative and original ideas. Notwithstanding all, improvements in medicine and

technology are hallmarks of cultural, ecological and environmental factors, and must be

properly analyzed, understood, and used for technological take-off. Sadly, the education

system relies entirely on Western canonical models, with the exception of traditional

African expertise acquisition modes. Western formal education is formatted to provide

individuals with a perspective for forcing to bring health back to the global financial

villages postulated to the success of globalization and culturalism. As a result, African life

54
and culture continue to be exposed to overlooked risks. So at this point, it is advisable to

encourage the cultural renaissance of Africa, by refocusing on African oral literature that

functions as a treasury of African cultural life. Demanding a return to our ancestral

approach is not always here. While this is becoming almost impossible in the 21st

century, in practice it can be argued that cultural studies emphasis is placed on the

restructuring of educational curricula to emphasize traditional fairy tales as a way to give

a younger generation a sense of patriotism and identity. young in africa. Talking About

the Possible Use of Oral Literature as a Stronghold of African Cultural Presence

Johannes Shima points out that Basotho information machines were included in their

proverbs, and thus the Basotho improvement philosophy is enshrined in these proverbs.

Therefore, she said, "The Basotho dictation is used to formulate to improve fashion.

Again, stressing the need to inject peace school technology into the Nigerian school

system," Nigerian indigenous peoples It became clear that the saying had a sotho and

lasting value for nonviolent coexistence.

In recounting the agelessness of orality and oral literature in human history, David

Bynum asserts that;

“Narrative literature is not important in the actual definition for humankind. For

thousands of years, the most effective rhythmic phrase and narrative device

recognized in many parts of the field was the tongue that people were born with.

Through narrative. Rhythmic speech has been the industry's first level of

conversational media for complex thinking, a media person with an impressive

ability long before everyone on the planet knew how to write. Was apparent.”

Bynum concludes with the very effective assertion that;

55
 “One of the greatest and most significant advances of this century's each of

the subcultures' famous educational knowledge was the growing awareness

that only a small fraction (my emphasis) of human total creative success (my

emphasis) is dependent on this ability.”

These claims refer to the importance of literary traditions in the way of human life, and if

such claims are valid, Africans will find that the premise of development is not the current

technological shift, but a good way at that time. You have to realize that it is cultural,

historical, and past as a donation. Creation of pressure technology and technological

progress. It is concluded that the purpose, cognitive ability and technological innovation

as the origin of a complex idealistic family are not merely the characteristics of writing

and literacy. However, Western Europe often detracts from the African concept system

by focusing its definition of purpose and intelligence on possession of literacy. In order for

generations to be relevant, they need to be sustainable culturally, economically and

environmentally accustomed and useful to individuals who need it through an academic

curriculum that recognizes and supports the value of lifestyles. That is indisputable. In the

same way, the concepts of globalization and superculturalism are adapted to the African

environment. Narrative literature, as a result, is a reservoir of African value and

understanding structure, and will be useful within the practice of such an environment.

The cost of oral literature to the sustenance of subculture is, consequently, succinctly

attested to by using a Kenyan learner and educationist who aptly argues that;-

"A systematic dating between oral literature and society is that such human

institutions develop together and neither can exist in isolation from each other.

56
 Humans use oral literature. The narrative reflects the existence of literature as a

whole. "

As a result, to the Kenyan people, her motherland is a document of oral literature an

important element of their general existence, says Lorna;

“Oral literature research is one of all the simple educational goals of Kenya

and is very important. As a result, the Kenya National Examination Board

guidelines and syllabus (1993) stipulate that through effective education

policies, college students can recognize the culture and environment of society

before they intend to study other cultures. doing. Her people's culture helps to

create as a beneficial member of his society.”

This is a sound academic policy that specializes in the purchase of indigenous

technologies, primarily based on student traditions and the environment, allowing

students to develop and build technological models for the purpose of applying them

to society. increase. This can contribute little to their interests, except that Africans

provide a market equipped in the finished arena of industrialized countries, which

they have no control over. Instead of being addicted to ideas, it's what you need. To

prepare the basis for Lorna's sentence, other Kenyan students previously insisted:

“Studying the literature is essential to fully understand the network. Literature,

both oral and written, reflects and shapes people's lives and thoughts. As a

result, it understands people's lifestyle as a whole. Must see fairy tales ”

But unfortunately, what you get in today's academic system is setting up a shopping

cart faster than a horse. Many African children get to know the extraterrestrial life in

57
the formal school structure they flock to a little earlier than they acquire their own

domestic culture and surrounding knowledge. Thus, rather than focusing on the

acquisition of African know-how structures embedded in our oral literature as the

basis for the development of our cultural potential and the formation of identification,

Africans transfer these skills or embellish them with the improvement of their own

skills. Going beyond a civil war is a simple example for everyone, the lack of state-of-

the-art weapons caused by the blockade and the rebel Biahura humans appealing to

the times of the indigenous peoples who have maintained their war effort for months

for the famous recognition that the regime is likely to collapse soon. It helped. The

problem is that the technology has never been applied. The index was rapidly

dissolved to satisfy the desires of men or women after the conflict was over.

Similarly, boosting the false emphasis on changing times, exposing the efficiency of

ideas such as globalization and transculturation in the African context, especially

affecting educational guidelines and packages published in Africa. To do this,

consider the following: The African Continent experienced turmoil due to its colonial

relations. Therefore, finding a constant focus on the discourse of second culturalism

and globalization, as well as the structure of foreign education, is the best import or

alternative export finance to alienate and delay the pursuit of African liberation. It's

order. With national and African standards. In general, the claim is that it cannot be

separated from the rest of Africa, but from the perspective of interest and the

conceptual framework of these idealisms, these separations are a renewal of Africa's

goals. It is essential, proper, or unavoidable to decorate the evaluation and relocation.

The priority of rearranging the educational curriculum for viable development in the

globalized context of the 21st century.

58
 Western European colonial powers continue to rely on Africans to maintain their

colonial empire and perpetuate neocolonial and imperialist management of African

countries, but of the academic curriculum and language previously used. It is clear

that we have drafted the rules. It is intended to train Africans to match the colonial

machines installed inside the colony. The device is skillfully used by Western colonial

powers who know that it has not been dismantled or scrutinized. This time, we can

introduce useful ideas like globalization and superculturalism to maintain our

continued dominance in African colonies. .. Africans again learn these rules and

programs without much consideration and train Africans to fuel the power of

globalization and the world market economy system dictated by a single supercultural

world. Continue to persist. In the 21st century, we have witnessed the continued

emphasis on academic devices that hinder important participation strategies, and we

are still giving spoons to students who care about the environment but cannot

seriously contribute to knowledge acquisition. .. Africans are unable to escape the

Western colonialist formula, primarily because of the balanced features that direct

development and regulation under the African caution idealistic framework.

As a result, from this perspective, what Africans today need is a firm emphasis on

traditional African education, and education and research are unique to the need for a

traditional African environment. It is based on an understanding system. It

summarizes the expertise inherent in folk tales, myths, legends, and various types of

oral literature originating from the African environment and trains African children

closer to Africa. A tutorial to guide young Africans endorsed with the help of Abdul

Karim Bangura, a student of black American cultural studies, advocating the adoption

of Ubuntu's African philosophy to work the premise of the curriculum system. For the
59
same reason. His "Ubuntu Announcement" is often applied to Africans and enjoys

more pedagogical versions than ergonagogy, heutogogy or andragogy. It was hoping

to go well with the African tertiary facility to provide African children with an

African know-how system and raise awareness of the African character and identity

of Bandido in a multicultural or globalized composition of 20. Global in the first

century.

Dare (2010) describes the destruction of colonial African traditions and purely

cultural methods. Education and new cultural and religious systems led to the

development of strict traditions. It is part of this poor culture that has led to political

unrest in Somalia. The move to the new country has led Somalia to learn a new

language for communication and livelihood. Therefore, Somali children around the

world need secular lessons after attending madrassa until a certain age to learn in their

native language.

60
 CHAPTER FIVE
SUMMARY OF FINDINGS, CONCLUSIONS, AND RECOMMENDATIONS
5.1 Introduction

The purpose of this study is to analyze the literariness of Somali oral narratives and

their role in literature as narrated in Dadaab Refugee Camp, Garissa County. The

study objectives included; to identify and analyze genres of Somali oral narratives,

their origins, and role in the oral literature of Somalis; to examine the nature and

features of style depicted in Somali oral narratives as narrated by oral artists; to

analyze and assess challenges facing the development of Somali oral narratives and

how they can be recorded as oral literature as rendered by oral artists and to determine

how oral narratives have been affected by trans-culturalism and as an emergent oral

literature genre in Dadaab Refugee Camp. This chapter presents the summary of

findings, conclusions, recommendations, and suggestions for further studies.

5.2 Summary of Findings

With this first objective, this study was aimed at identifying and analyzing the origins of

the Somali oral narrative genre and its role in Somali folk tales. On the origins of oral

literature; this study showed that Somali literature began at the beginning of the 20th

century and was initially present in several scripts. The survey also found that the

majority of respondents expressed the opinion that literature written in Somali was of

relatively recent origin, as Somali did not have an official spelling until October 21, 1972.

his native language. The rhyme leading to every line of poetry requires an active

knowledge of archaic and poetic vocabulary and a genuine mastery of the very complex

structure of language.

61
Furthermore, the study found out that the Somali as the afar is originally traditional

society using the same forms of literature, such as asking questions, storytelling,

initiation to the rhythm and sounds, proverbs, and the poetry divided into folklore and

oral poetry. Concerning the role of oral narratives, the study findings indicated Somali

story tells a solution to an existential problem. They help the community create a map

that is a kind of blueprint. It also gives the community a source by providing valuable

insights into embarrassing issues that create embarrassment for itself.

Like any other African narrative, the narratives explain how things happen, why they

happen and the possibilities of what would happen in the future. It gives some kind of

blueprint of the community.

Under the second objective, the study aimed at examining the nature and features of

style depicted in Somali oral narratives as narrated by oral artists. The study results

revealed that most Somali stories are instructive. This affects many aspects of the

story, including the following, characterizations, perspectives, etc. The storyteller uses

a point of view that gives them enough freedom to manipulate the story of the story.

Somali oral narratives just like narratives from different African societies have

features that distinguish them from the rest of the African narratives. Most Somali

authors incorporate the use of poems and proverbs. Most Somali proverbs employ

poetic techniques such as imagery and sound pattern such as alliteration and rhyme

scheme.

In the third objective, the investigation aimed to analyze and assess challenges facing

the development of Somali oral narratives and how they can be recorded as oral

62
literature as rendered by oral artists. The study results revealed that the fact that the

Somali people enjoy the company they give to one another and scone people who tend

to against that and they do not like reading and only the “Wadads” religious leaders

are allowed to read Quran so they can hand down knowledge and information about

the holy book. Another challenge identified as affecting Somalis oral literature is the

changing tradition and culture due to regular movements. Due to this constant

movement, Somalis are compelled to learn new languages so that they easily adapt to

their new locations.

In the fourth and the last objective, the investigation aimed to determine how oral

narratives have been affected by trans-culturalism and as an emergent oral literature

genre. The study results showed that transculturalism emphasizes a monolingual and

monocultural life of the universe can’t, consequently, desire the delivery of the

African understanding structure where narrative is prosperous in our many linguistic

backgrounds and oral literary heritage, with the literary boom and its immanence.

The urge by western cultures to realize economic power is what has promoted

trans-culturalism. The lesser communities have been forced to join in in the name

of development. This in the end has led to individualism with many nations losing

their humanistic values in the process. This is the reason why Somalis have

emphasized on spoken Somali language.

5.3 Conclusions

Based on the research results, I made the following conclusions. In this study, the

Somali literature began in the early 20th century and came to the conclusion that it

initially existed in several other letters. The Somali literature was born relatively

63
recently, as there was no official spelling by October 21, 1972. At the time of

Somalia, art is characterized by the poet having to speak his native language.

The Somali as the afar is originally traditional society using the same forms of

literature, such as asking questions, storytelling, initiation to the rhythm and sounds,

proverbs, and the poetry divided into folklore and oral poetry. Concerning the role of

oral narratives, the Somali story tells a solution to an existential problem. They help

the network develop a map that is some kind of blueprint. They also give the

community a valuable awareness of the mysterious issues that embarrass them. The

story of the Somali story is full of stories that act as the smell of the air, to provide an

explanation for what’s, and that that’s to come back.

It was also concluded that most narratives of the Somali are didactic. This,

sequentially, affects several aspects of the narrative, such as point of view,

characterization, and so on. Storytellers use a viewpoint that offers them abundant

freedom to control their narrative stories. Somali oral narratives have features that

distinguish them from the rest of the African narratives. Most Somali authors

incorporate the use of poems and proverbs. Most Somali proverbs employ poetic

techniques such as imagery and sound pattern such as alliteration and rhyme scheme.

The Somali story goes from the known to the unknown. Also, Somali oral literature

adopts many strategies related to more "literary" mode. Oral Warfare is tied to a

diverse Somali social fabric composition, occupying the same position as the media

famous for its print lifestyle.

Somali people enjoy the company they give to one another and scone people who tend

to against that and they do not like reading and only the “Wadads” religious leaders
64
are allowed to read Quran so they can hand down knowledge and information about

the holy book. Another challenge identified as affecting Somalis oral literature is the

changing tradition and culture due to regular movements. Due to this constant

movement, Somalis are compelled to learn new languages so that they easily adapt to

their new locations.

Culture has led to reduced knowledge systems from communities with varied

cultural heritage. The idea of globalization by use of modern technology, through

education and religious practices, is what has promoted transculturalism. It has led

to an identity crisis among African communities. Global culture has “swallowed”

several African communities rendering them extinct. The urge by western cultures

to realize economic power is what has promoted trans-culturalism. The lesser

communities have been forced to join in in the name of development. This in the

end has led to individualism with many nations losing their humanistic values in

the process. This is the reason why Somalis have emphasized on spoken Somali

language.

5.4 Recommendations

In this study, it is recommended that the Somalis very strongly show that the greatest

changes do not occur when they meet now, writing eloquently. The dominant house

of a new departure expressed using sentences presupposes a worldview placed

between the artist and the target market, where understanding the shape of the mouth

may not be the case for the text content of this article. There is an element in the

concept of doing. The suggestion here is to share the horizon of interpretation in

which the means are shared to consist of written or verbal. Moreover, the horizon of

65
these interpretations means shared know-how deeper than the limited notion of

language as text. The horizon of interpretation contains practices and codes that

ultimately derive from culture and the participation of transcendents.

5.5 Suggestions for Further Studies

This investigation aimed to analyze the literariness of Somali oral narratives and their

role in literature as narrated in Dadaab Refugee Camp, Garissa County. It is therefore

recommended a further focus on the impact of digital technology on the advancement

of oral literature. The future of oral narration as a communal interaction is thus

threatened, the physical pleasure in communal contact, the pleasantness of actual

rather than virtual grouping; the physical availability of people to others, the privilege

of physical accessibility of one age group to another, the communal element in which

Oral literature is grounded, is all, now and in the future threatened by the virtual

interaction presented by the digital technology. A scholar of oral literature pondering

the future of oral literature on the globe wonders if the interaction between digital

technology and oral narratives is advancement or a drawback; this remains a dilemma.

The future of oral narrative, therefore, lies where physical human contact begins and

ends. However, the pertinent issue remains ‘what the originally intended purpose of

the oral telling of the narrative was and the narrative process is a natural and

unconscious product of the society; a natural product of a people’s impulses. The

question, therefore, is whether the purity of such a natural impulse and communal

interaction can be retained with intrusion by technology.

66
67
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 APPENDIX I: QUESTIONNAIRE
Questions

These questions are purely for collecting data for academic purposes. The study seeks
to: Analyze Somali oral narratives in the contemporary literature; a Case of
Dadaab Refugee Camp, Garissa County, Kenya. All information was treated with
strict confidence.
Section A: biographical questions
Biographical questions
1. What is your sex?
Man () woman ()
How many years do you have?
Below 30 years () 31 - 40 years () 40 - 50 years () Above 50 years
2. Which is your educational level?
() high school diploma () university education () none
Q1.
What can you tell us about your family origin?
Are there any stories about your family origin?
If yes, has the story undergone any changes?
Does your family stay in one place?
Q2.
When were Somali narratives narrated according to Somali culture?
Morning () Mid-morning () Afternoon ()
Do you have any story that has undergone changes?
Who often narrates the stories? Do young generations still listen to the stories? If yes,
how do they view it and the narrator?
Is there any importance placed on oral narratives?
Q3.
Are their changes in your community that has affected your traditions? If yes, what
are some of those changes?
How have the changes affected story telling in your community?
How has change to new environment affected the ritual of storytelling?
74
Do you have some traditions and customs that you have tried to preserve?
3. What are some of the features that can be identified with Somali narratives?

a) Which one would you consider as important between the oral narration and

written stories?

4. How has trans-culturalism promoted development of literature from oral to

written?

5. In your view, would you say that the Somali narratives are present in the
modern literature in English?

75
 APPENDIX II: INFORMED CONSENT FOR THE RESPONDENTS.
I am Abigael Chemai Jepkirui, a student at Mount Kenya University pursuing masters
of Arts literature.
As the part requirement for the completion of my studies am supposed to conduct a
study titled CRTITICAL ANALYSIS OF CONTEMPORARY SOMALI ORAL
NARRATIVES, for the above mentioned reason, I kindly request you to be one of
the respondents in my study on voluntary basis. Feel free to withdraw from the study
in case you don’t feel contented.
Any information gathered was treated with utmost confidentiality.
I have read and understood the contents of the consent form.

Respondent QR………………………………………….
Signature………………………. Date ………………………
Researcher signature…………………………………… Date
…………………………………
Abigael Chemai Jepkirui

In case of any complain you are always free to consult chairman Ethical Review
Committee P.O box 342-01000 Thika.
Participant’s signature …………………………………
Date …………………………………………………….

76
 APPENDIX III: WORK PLAN
No Activity Duration Period
1 Topic approval 1 month January 2019

2 Term paper writing 2 months March –April 2019

3 Proposal writing 2 months May- June 2019

4 Submission rough draft 1 month July 2019

5 Defense of the proposal ½ Month August 2019

6 Corrections 1 month August 2019

7 School defense 1 month February 2020

8 Application of research 1month March 2020

permit

9 Data collection and analysis 2 months April –May 2020

10 Submission of report 1 month June 2020

77
 APPENDIX IV: BUDGET
No Item Description Estimate
5 reams of printing papers at 500 each 2500
1 Stationery 1 packet of diskette 5000
Writing materials 1000
2 Transport Fare to various destinations 20000
Mail bag Transporting the research instruments to 12000
various research consultants.
3 Lunches On daily basis for 12 days 10000
4 personnel 2 field assistants at 500 per day for 30 15000
days
5 consultancy Digital mobile data collecting tool 40000
analysis
Photocopy 2000
6 service Printing 1000
binding 1600
7 Miscellaneous 5% of the total cost 5450
expenses
TOTALS 114550

78
APPENDIX V: MAP OF THE DADAAB REFUGEE COMPLEX

79