Abstract
[2] . Among Babukusu of western Kenya, traditional male circumcision entails three stages: preparation to circumcise, the actual circumcision and postcircumcision rites. These stages are engrossed by elaborate detail of ritual and ceremony that is laden with messaging, symbolism and rationale especially through music. Inevitable gradual changes in the form, content, practice and performance of Babukusu male circumcision have emasculated the erstwhile structural and functional features of the practice. It is arguable that currently its function hardly goes beyond a mark of cultural identity, Wanyama [3] . However, most messages expressed, especially in the music performed in the ceremony and the initiation package, are still relevant in modern times because themes therein are current and topical, for instance: sensitization on HIV and AIDS, and perpetuation of morals (ibid). This paper explains by means of detailed ethnography and ethno-music the significance of messages communicated during Babukusu male circumcision practice. Two questions answered by this paper are: What is the message passed through ethnographic initiation rites and through music and performance? Why are initiation and music messages that epitomize Babukusu male circumcision such important to the practice and life of Babukusu as a community? The paper assumes that the male circumcision practice of Babukusu is an avenue for moralistic and life messaging not to the initiate alone but to the wider community. This messaging is communicated through two channels, first through the initiation packages passed to the boy and two through music that characteristically embodies the importance of male circumcision from its mythical origin. In this study, data is derived from two sources; first from ethnography of Babukusu male circumcision and second from circumcision ethno-music. Both sources of data provide a fusion of qualitative information that forms the basis of arguing this paper. At each of the three phases that mark Babukusu male circumcision, ethnography and ethnomusic carry symbolic messages that initiate the boy into adulthood and also that concern and inform the community about topical issues that affect the group and the rest of the world. They also convey important life messages about Babukusu and their values, morals, beliefs and lifestyles. The significance and importance of this traditional rite is captured through this rich ethnography and ethno-music and to understand the importance of the practice, we explore overt and covert symbolic meanings in circumcision messages.
Highlights
Male circumcision is typically done as a rite of passage into manhood in many Sub-Sahara Africa communities including Babukusu of western Kenya
Most of the ethnographic information on Babukusu male circumcision were drawn from the rural set up contexts within which circumcisions took place using direct observations and recording of events surrounding the circumcisions and from in-depth interviews and focus group discussions (FGDs) with parents of the boys who circumcised
Ten FGDs were with females and 11 with males
Summary
Male circumcision is typically done as a rite of passage into manhood in many Sub-Sahara Africa communities including Babukusu of western Kenya. According to UNAIDS/CAPRISA[4] modernity factors including Christianity and colonialism have over time shaped circumcision in most African societies, the practice still serves strong and meaningful messages to the initiate and to society. According to Marck[5], in groups that circumcise the way Babukusu do, adolescent rites of passage for ‘initiation”, are common and typological. The second phase involves initiates spending life in the seclusion hut, referred to by Babukusu as; mwirumbi; where they stay while their wounds heal and where they are inculcated with both practical and theoretical life knowledge. The third phase, is marked by the ‘feast of coming out of the hut of seclusion’; khukhwaluka, and embraces a series of rites and festivities that are cardinal and symbolic to transition into adulthood
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