MANIFESTATIONS OF MATRIARCHAL TENDENCIES IN THE ABAGUSII ORAL POETRY OF WESTERN KENYA

Abagusii of Kenya, like many traditional African societies, were (are) thought to be patriarchal in their social setup. Contrary to this belief, however, there exist cultural art forms from the community which suggest a balance, if delicate, of power across gender. One such art form is oral poetry. Abagusii oral poetry is performed in all rites of passage and activities in the community such as birth, harvest, circumcision, and marriage-related ceremonies, to name but a few. When examining the oral poetry of Abagusii closely, it becomes evident that gender relations among Abagusii are much more sophisticated than generally assumed. On some occasions, matrimonial power is not only seen to exist but suggestively acknowledged as well. The study is mainly guided by the ideas of such African feminists as Oyèrónké Oyĕwùmí, Ifi Amadiume, among other gender intellectuals as Lugones [1], Gullestand (1993) Vilar [2], Shannon (1985), and Chinweizu (1990), this article examines manifestations of matriarchal power in Abagusii Oral poetry. In this regard, it explores purposively selected oral poetry of birth, courtship, and marriage. The study establishes that contrary to common assumptions, women are not only conscious of their place in the society but also serious contenders to societal influence, power, and authority. Motherhood emerges as a system that runs much deeper than most observers have been able to acknowledge. Above all, the study demonstrates that the most effective approach to uncovering "the subtleties, contradictions, and ambiguities" of gender relations in different communities is simply that of considering them within their own contexts and on their own merit.