Akorino Music As a Tool of Resistance in Kenya
Résumé
This article sets out to explore how the Akorino Church, whose official name is the Holy Ghost Church of East Africa, has used music as a tool of resistance since the 1920s, when it began as an African-instituted ecclesiastical outfit. Were its forms of resistance set against Westernisation of Christianity, spiritual decay, ecclesial lukewarmness, acculturation, hegemonic politics, and neo-colonialism, among other societal malpractices within and beyond Kenya’s territorial space? Were its general forms of resistance holistic and an all-rounded appeal to the vicissitudes of life? In utilising a theo-historical design, this article seeks to understand how the Akorino adherents have used music in their religio-cultural discourses since its establishment as an African-instituted church. The main concern is: How has the Akorino music expressed itself as a tool of resistance within the ecclesiastical circles and in the larger society? In its methodology, the study uses a qualitative meta-synthesis approach, which synthesises epistemologies from multiple qualitative studies and phenomenology to produce new, interpretive, and actionable knowledge, often transforming fragmented data into a comprehensive theoretical model. Ripples are that it strives to transform the fragmented data on the Akorino music, which is viewed in this article as a tool of holistic resistance. It comprehensively documents it for broader consumption in academia.
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