S2B071K
<I> 
<$A> <#/>We present A New Book of African Verse a collection of poems edited by John Reed and Cliff Waite <#/>This programme is for forms three and four <#/>This is the first of eight programmes on a New Book of African Verse <#/>In this introductory programme we shall be discussing poetry generally <#/>We shall also examine two poems by the late Angolan President poet Augustino <?/>Netu <#/>In the studio with me are the radio teacher and his two students Njeri and Omolo Welcome to the programme
<$B> <#/>Hello students in this lesson we shall deal with poetry generally <#/>We shall also examine two poems by Augustino <?/>Netu <#/>Now poetry anthologies can be organised in various ways <#/>For instance a whole collection can be organised by theme <#/>You could have an anthology of humorous poetry <#/>For example this would be a collection of verse by different poets but the connecting link between all these poems would be humour <#/>Each of the <-_poem><+_poems> would be humorous or witty in some way <#/>Similarly you can find <-_collection><+_collections> of love poetry war poetry and so on <#/>Yes Omolo I can see you have something to say already <#/>Go ahead
<$C> <#/>Besides collections of poetry based on subjects like love and war and so on there are other ways in which poems can be collected in one book <#/>For example my elder sister who enjoys reading poetry has two collections of poems by Kenyan poets <#/>One is called Tensions and all the poems in this collection are by a single poet Richard Ntiru <#/>The other is a collection of poems by Michere Mugo and is titled Daughter of My People Sing
<$B> <#/>Good point Omolo <#/>Yes that is another way poetry can be collected together between two covers <#/>As you say all the poems in some collections are by a single poet <#/>Now on what general basis are the poems in A New Book of African Verse collected together
<$A> <#/>The title of this collection explains that <#/>All the poems in this collection are by African poets
<$B> <#/>Correct all the poems in this book are by poets from our continent <#/>Yes Njeri what do you wish to say
<$D> <#/>Well I don't understand why this book is called A New Book of African Verse <#/>After all there are only two poems from East Africa and both these are by Ugandan poets Taban lo Liyong and Okot p'Bitek <#/>I don't see any poems from Kenya Tanzania Zaire or Malawi
<$B> <#/>Yes that's a relevant objection <#/>Njeri I was a bit disappointed myself to see not a single Kenyan poet represented here and we certainly have some very good poets <#/>It seems that most of the poets in this collection are from South or West Africa Our country and our region have been neglected <#/>Did you notice that this collection is titled A New Book of African Verse <#/>Well now this is because though it was published in nineteen eighty-four <#/>It is a revised edition of a book originally published in nineteen sixty-four <#/>The first edition was titled A Book of African Verse and in that book the editors include the poem Karioki by a Kenyan poet Joseph <?/>Gatueria <#/>That first edition also included two poems by the Malawian poet David Rubadiri who has spent many many years in Kenya and Uganda but both these poets have been excluded from A New Book of African Verse <#/>Other poets especially those from South Africa have been included instead <#/>Before we actually start examining individual poems let me first ask you students what you understand by poetry <#/>Yes Omolo
<$C> <#/>To me poetry is written in lines and verses not in paragraphs as in prose
<$B> <#/>Yes uh that's one definition of poetry <#/>A poem is written in lines rather than in continuous sentences and paragraphs as is prose <#/>Njeri any other ideas 
<$D> <#/>I have noticed that in poetry the writer often compares things <#/>He will say one thing is like another and that it resembles in some way <#/>For example if the poet is writing about a woman he loves he might compare her to a flower or a jewel or something that is lovely and treasured <#/>In this way he tells us both how beautiful she is and also how dearly he loves her
<$B> <#/>Very good Njeri and what do we call this kind of comparison of one thing to another in poetry <#/>Yes Omolo
<$C> <#/>We call it a simile
<$B> <#/>That's correct <#/>We call comparisons between objects or persons similes <#/>In this way the poet makes clear to us the particular thing or person or feeling he is describing <#/>Omolo what other devices does a poet use
<$C> <#/>Sometimes the poet uses sound to make real for us the thing or person he's writing about <#/>For example I have read a poem about a thunderstorm and the poem ends like this
<quote_>  <quote/>
<#/>Now a word like jagged makes us see the lightening zigzagging across the sky <#/>Well the sound of words like rumble tremble and crack make us hear the thunder of this storm
<$B> <#/>Excellent observation Omolo <#/>So to summarize we can say that the poet uses various techniques or methods to make his poem vivid and memorable <#/>He uses similes and sounds and images <#/>Now all this becomes clearer to you as we actually read and examine the individual poems but there is one last thing I would like to mention before we start on <?/>Netu's poems <#/>I want you to keep firm in mind that in our study of the poems we shall pay equal attention to theme and style theme and style <#/>Well Njeri what do you understand by theme 
<$D> <#/>I think the theme of a poem is its subject matter <#/>It is the main idea that the poet wishes to communicate in that particular poem
<$B> <#/>Quite right <#/>The theme refers to the subject matter or content of a poem <#/>It refers to what the poet is saying that is to those feelings and experiences he is trying to tell us about in his poem <#/>Omolo what do you understand by the expression the style of a poem
<$C> <#/>The style of a poem refers to the various methods the poet uses to make his poem fine and memorable <#/>Style refers to the kind of words he selects <#/>These will be the most appropriate words in the particular place in the poem where they appear <#/>Style also refers to other poetic devices like rhythm that is the beat of a poem or to the image and similes and sound the poet uses
<$B> <#/>You have explained the meaning of a poet's style very clearly <#/>So remember in our study of poems we shall emphasise the poet's ideas or themes as much as his style <#/>Okay let us now move on to study two poems by the Angolan poet Augustino <?/>Netu <#/>These poems are on pages forty-nine and fifty of your text <#/>Let us first read his poem Between <#/>Njeri will you please read the poem for us <#/>You will find it on page forty-nine
<$D> <#/>Between by Augustino <?/>Netu
<quote_><quote/>
<$B> <#/>Thank you Njeri <#/>Well what is this poem about <#/>What is the poet saying in Between
<$D> <#/>He is saying that human life is made up of pain but also of joy
<$B> <#/>Yes human life consists of moments of pain and other moments of happiness <#/>Let us see how the poet expresses his idea <#/>The poem is composed of three verses and <?/>Netu uses each verse to express a particular idea <#/>Omolo would you like to explain the idea contained in each of the poem's three verses
<$C> <#/>In the first verse he says that human beings experience unhappiness and sorrow <#/>In the second verse he shows how they also experience joy <#/>In the final verse he says that despite both this joy and sorrow the continent of Africa can plan a better future for itself and its people
<$B> <#/>Very good Omolo <#/>That's very brilliant <#/>Now you have briefly explained what the poet's idea and theme are about <#/>Now let us go back to those three verses to see how <?/>Netu expresses his ideas that is we shall now be concentrating on his style <#/>In verse one how particularly does the poet convey the idea of human distress
<$D> <#/><?/>Netu uses a horrible image to make us feel the human distress he mentions <#/>The image is of reptiles and worms in a mudhole <#/>They are getting ready to destroy a beautiful human child
<$B> <#/>Yes and how are these worms preparing to destroy the child
<$D> <#/>The poet doesn't say exactly how but I think he hints that the child will die perhaps of hunger or sickness and then it will be consumed of worms
<$B> <#/>Yes the poet doesn't actually specify how the child will die but in that horrible ugly image he suggests that it will be destroyed by worms and reptiles <#/>These worms will eat the child after he dies but the reptiles refer to the various evils that children of Africa are exposed to today Evils like hunger and disease <#/>So we have seen how the poet uses images to convey ideas <#/>In this case the image of reptiles and worms explains how life is threatened by pain and evil and sorrow <#/>The reptiles stand for evils like hunger and disease <#/>The worms stand for death and the target of these evils is the innocent child who is destroyed even before he has had a chance to live and experience the goodness life has to offer <#/>Now what about the second verse <#/>How does the poet express that other side of human life its joy <#/>Yes Njeri
<$D> <#/>Here the poet uses images like dawn and hymn to express the joy and glory of being human and this happiness defeats the enemies of human life the worms and reptiles
<$B> <#/>Yes indeed <#/>The poet expresses the beauty and hope of human existence in images like dawn and hymn of earth and this joy this hope is clearly seen in the poet's choice of words and phrases <#/>Omolo select those words and phrases that communicate the deep joy in human existence
<$C> <#/>Words like delight dawn sweet and strong resounding intoxication hymn <#/>Through these words the poet tries to show the depth and the intensity of happiness human beings can experience
<$B> <#/>Good <#/>Finally in the third verse <?/>Netu is saying that between the good and the evil in life the people of our continent can start to create a new world of hope and harmony <#/>How do we know he's referring to Africa
<$D> <#/>He refers to Africa poetically as a great track from the Niger to the Cape
<$B> <#/>Yes and how can Africa create this harmony and hope
<$C> <#/>We are told how Africa can create this harmony and hope in the third and fourth lines where <quote_><ea_><ea/><quote/> <#/>That is Africa can create this hope with its hands and its culture
<$B> <#/>Correct <#/>The mention of <ea/>marimbas and drums probably refers to Africa's culture <#/>Notice how the word hands is repeated <#/>This suggests it's through human effort and skill that we create the glorious Africa to come The Africa of unity and joy <#/>Well let us end our lesson today by briefly examining another poem by <?/>Netu <#/>This is on pages forty-nine and fifty and is called Night <#/>Njeri please read it for us
<$D> <#/>Night by Augustino <?/>Netu 
<quote_> <quote/>
<$B> <#/>Thank you Njeri <#/>Now would you agree with me that this poem isn't as hopeful as Between
<$C> <#/>Yes I agree <#/>The poem Night describes how it feels to belong to the deprived and miserable slum <-_township><+_townships> of the world
<$B> <#/>Yes but how does <?/>Netu express the hopelessness of life in the slums Omolo
<$C> <#/>He does this mainly by the words he uses <#/>For example adjectives like dark unlit and unfamiliar tell us that the slum the speaker lives in lacks electricity and street lights <#/>It is without light or life so he has to find his way through the slum by feeling his way rather than seeing his way
<$D> <#/>He also uses verbs like propped feeling tumbling stumbling and blocked <#/>These words tell us that the slum dweller lacks control over his own life <#/>Finally nouns like mystery dread and ghost tell us what frustrates the speaker's plans and dreams <#/>The poet makes an important point in verse four <#/>Here he says that in these miserable slums men take one another for things <#/>That is individuals are not respected or accorded their human dignity <#/>Instead they are exploited and used as mere objects
</I>
S2B072K
<I>
<$A> <#/>We present Agriculture for Standard Seven Pupils  <#/>Hello boys and girls <#/>Welcome to agriculture programme series <#/>Today's programme is entitled mineral deficiency symptoms and their control in crops 
<$B> <#/>In order for plants to grow healthy and give us more yields they must be supplied with plant food nutrients <#/>These food nutrients are in form of mineral salts  mineral salts <#/>Plants must have these mineral salts for proper growth <#/>They are therefore referred to as essential elements  essential elements <#/>Some of them are needed in large amounts <#/>Others are needed in small amounts  The essential elements or minerals in the soil needed by plants in large quantities are one nitrogen  nitrogen two phosphorus  phosphorus three potassium  potassium four calcium  calcium five magnesium  magnesium and six sulphur  sulphur Those ones needed in smaller quantities include one chlorine  chlorine two iron  iron three zinc  zinc four manganese  manganese five molybdenum  molybdenum six sodium  sodium seven boron  boron and eight copper  copper <#/>Most soils in Kenya usually lack the following essential minerals one nitrogen two phosphorus and three potassium <#/>These three minerals are needed in even greater quantities by the plants <#/>Crops growing in soils where any of these minerals is lacking will show hunger signs <#/>These hunger signs are referred to as mineral deficiency symptoms  mineral deficiency symptoms <#/>To learn more on this we shall listen to a conversation between a farmer Mr <name/> and an agricultural officer Mr <name/>
<$C>  <#/>Oh what a poor harvest from my three hectares of maize <#/>I can't believe it Only three bags <#/>Am I cursed <#/>What could have gone wrong
<$D> <#/>Good morning Mr <name/> 
<$C> <#/>Oh I'm quite fine Sir <#/>Honestly I did not notice you coming
<$D> <#/>What is the matter with you <#/>You look sad <#/>Anything wrong in the house
<$C> <#/>No no Not in the house <#/>But something is very wrong there the farm <#/>Look this is the only maize I got from this whole <ea/>shamba <#/>Can you believe that
<$D> <#/>I now understand <#/>It means that your crops went hungry <#/>You did not feed them properly
<$C> <#/>I did put some manure before planting <#/>And I weeded the crop twice
<$D> <#/>You see Mr <name/> you need to understand this that crops need a balanced diet just like you and me <#/>They need certain food in form of mineral salts <#/>These mineral salts are sold as fertilisers <#/>If you failed provide proper fertilisers you will continue to have low yields 
<$C> <#/>I see I see <#/>Tell me how can I tell when my crops are hungry <#/>The crops do not talk or cry like we do or animals do
<$D>  <#/>You're right <#/>But they show signs when they are lacking certain minerals <#/>For example we have a mineral known as nitrogen  nitrogen <#/>It is a must that a plant has nitrogen for proper growth
<$C> <#/>How do I tell that my crop is lacking nitrogen
<$D> <#/>A crop lacking nitrogen will have for example leaves which change to yellow and these leaves will be poorly formed <#/>The crops will also not be able to grow to their full size and they can easily be attacked by diseases 
<$C> <#/>What else am I likely to observe in a crop lacking nitrogen 
<$D> <#/>The roots are poorly developed <#/>These roots will start to die from the tip backwards <#/>The same thing will happen to stems <#/>They will start to die from the tip backwards <#/>And in grasses the tips of lower leaves may turn brown <#/>This yellow colour will spread along the mid-rib until the whole leaf dies 
<$C> <#/>I'm beginning to understand <#/>Tell me officer after strong wind blew over my maize garden a lot of the plants were left lying flat on the ground <#/>Why do you think this happened
<$D> <#/>I must say that was a good observation <#/>It showed that your maize plants had weak stems <#/>You see when plants lack nitrogen they develop weak stems <#/>And when wind blows over such weak stems they are made to lie down <#/>This condition is known as lodging  lodging <#/>Crops need adequate supply of nitrogen to grow well 
<$B> <#/>Well class as the agricultural officer says crops require adequate supply of nitrogen <#/>If crops lack nitrogen they will show nitrogen deficiency symptoms <#/>Shall we write them down  <#/>Ready  <#/>Nitrogen deficiency symptoms in crops are one leaves become yellow  leaves become yellow two there is slow growth  there is slow growth three roots are poorly formed  roots are poorly formed four easy attack by diseases  easy attack by diseases five lodging spelled l o d g i n g lodging  lodging spelled l o d g i n g and six in grasses lower leaves die slowly from the bottom  in grasses lower leaves die slowly from the bottom <#/>It is also important to note that nitrogen is needed by plants for the following reasons one nitrogen encourages vegetative growth two nitrogen gives green colour to the plants and three nitrogen is part of protein <#/>Class let us now go back to the conversation of Mr <name/> and Mr <name/>
<$D> <#/>Another mineral salt which crops need in very very large amounts is phosphorus <#/>And this phosphorus is also supplied as fertiliser especially at planting time 
<$C> <#/>What are its hunger signs in plants
<$D> <#/>Firstly the plants will have slow growth <#/>Secondly crops lacking phosphorus will take a long time to mature <#/>Thirdly after harvesting the yields are very low <#/>Fourthly crops such as maize wheat and barley have thin stems <#/>The leaves in maize turn purple in colour 
<$C> <#/>And what would you say are the uses of phosphorus in plants
<$D> <#/>Phosphorus is important for the proper root development and that is why it must be supplied at planting time <#/>Phosphorus will speed up maturing of crops such as maize <#/>And lastly phosphorus is important for the development of reproductive parts of the plants that is flowers and fruits 
<$C> <#/>I wish you had come earlier <#/>I would have been smiling now over a good harvest 
<$B> <#/>Class you have learnt that phosphorus is another mineral salt that crops require in very large quantities <#/>We have been told that lack of phosphorus in crops will result in the following deficiency symptoms <#/>Please write them down <#/>One slow growth  slow growth two slender or thin stalks  slender or thin stalks three delayed maturity  delayed maturity four low yields  low yields and five purple colour in maize leaves  purple colour in maize leaves <#/>We've also been told that fertiliser containing phosphorus should be applied at planting time <#/>This will help in one development of roots two quick maturing of crops and three development of reproductive parts of the plants mainly flowers and fruits <#/>Let us now hear more from the conversation between Mr <name/> and Mr <name/>
<$D> <#/>There is also another mineral salt that plants need in large quantity <#/>Your crop of maize must have it to give you better yields 
<$C> <#/>Which one is it
<$D> <#/>It is called potassium <#/>Potassium like nitrogen and phosphorus also comes as a fertiliser <#/>We are lucky that our soils do not have serious shortages of potassium <#/>But where symptoms show you must supply it to the crops in form of fertilisers 
<$C> <#/>Which are the symptoms of potassium deficiency on crops
<$D> <#/>Lack of potassium in crops will be shown in the following ways <#/>One leaves will be half burned and spotted <#/>Two lower leaves will curl <#/>Three stems and branches will be weak and often will fall off before maturity <#/>Four roots and tubers develop poorly <#/>And five orange trees will look spotted 
<$C> <#/>After preparing charcoal on a piece of my <ea/>shamba the maize planted there did very well <#/>Do ashes have any mineral 
<$D> <#/>What a good observation you made <#/>Ashes and stalks of cereal crops have a high percentage of potassium <#/>But remember burning has more harm  than good on soil <#/>Burning will kill micro-organisms in the soil <#/>Extensive burning may cause soil erosion <#/>Why not use manures and fertilisers recommended for better results <#/>We're always there to help you remember 
<$A> <#/>That was agriculture programme series for standard seven pupils <#/>Today's programme was on mineral deficiency symptoms in crops <#/>This programme was written by Ephraim <name/> <#/>It was edited and produced by Peter <name/> <#/>Your presenters were Nancy <name/> Nation <name/> and Fidelis <name/> <#/>The programme was recorded by Evanson <name/> for the Educational Media Service Kenya Institute of Education <#/>Next week we shall discuss the soil conservation methods <#/>Till then good bye  
</I>
<I> 
<$A> <#/>We present Agriculture for Standard Seven Pupils  <#/>Hello boys and girls <#/>This is Agriculture <#/>In today's programme we'll discuss methods of soil conservation <#/>Welcome to the programme  
<$B> <#/>Soil must be prevented from being carried away by wind and water <#/>This is what we mean by the term soil conservation <#/>We want to retain the good top soil <#/>We need this top soil to grow crops and rear livestock <#/>There are many methods used in conserving soil <#/>Today we shall discuss some of these methods <#/>The methods of soil conservation that we shall discuss are one contour farming two strip cropping three terracing four grassed waterways and five gabions <#/>In the studio we have a pupil called <name/> <#/><Name/> will be visiting a local farmers' training centre near his school <#/>We shall hear him talking to the agricultural instructor in the Institute Mr <name/> <#/>Now let us listen to what they say about soil conservation methods 
<$C> <#/>Good morning Sir
<$D> <#/>Good morning to you young man <#/>What can I do for you
<$C> <#/>My name is <name/> <#/>I come from Henny Primary School and I am in class seven 
<$D> <#/>Yes I know Henny Primary School very well <#/>I know most of the teachers <#/>What exactly is your problem <#/>Do not be afraid <#/>Feel free with me <#/>I'm also a teacher of adults <#/>I train farmers 
<$C> <#/>Sir we are studying the topic soil conservation methods <#/>I would like to know more about these methods of soil conservation <#/>As a matter of fact we have been given an assignment to find out more on this topic
<$D> <#/>Well well now I understand<#/> But for you to understand better I suggest we move over to our demonstration farm <#/>Let's go  <#/>Here we are <#/>Let's stop now <#/>We have many methods of soil conservation displayed on this farm <#/>But for a start let me hear from you what methods you use at home to conserve the soil 
<$C> <#/>Where I come from is very hilly <#/>So during cultivation such as digging or weeding we cultivate across the slope <#/>For this reason there is little or no loss to our top soil 
<$D> <#/>Oh that's beautiful <#/>Cultivating across the slope is a nice way towards soil conservation <#/>It is one of several steps towards soil conservation 
<$C> <#/>But Sir can you tell me the reason behind cultivating across the slope <#/>What really happens that the soil is prevented from being washed away 
<$D> <#/>You see cultivating across the slopes helps to check the direction and speed of the waterflow <#/>This means the water flows slowly and in this way most of the water sinks into the soil <#/>If you dug up the slope you'll be making  it easier for the water to flow down easily and very fast <#/>As it does it carries away a lot of soil the top soil you need <#/>But I think the best results can even be got through cultivating along the contours <#/>It is more or less similar to what you have described 
<$C> <#/>Contour
<$D> <#/>Yes contour method of soil conservation <#/>Why do you sound surprised at my mentioning the word contour <#/>Have you heard it before 
<$C> <#/>Our teacher told us that a contour is a line joining points of the same height above sea level <#/>Contouring is done by surveyors when mapping an area
<$D> <#/>You are very correct <#/>Therefore cultivation by help of the contour line is called contour cultivation  contour cultivation
<$C> <#/>But how is this done
<$D> <#/>This means that you dig following the contour <#/>You also plant your maize or beans or potatoes whatever crop following the contours <#/>All this will help to check the waterflow after the rain
<$C> <#/>Oh I understand <#/>But Sir look at that plot <#/>I can see you have planted maize <#/>Then further down you have sweet potatoes <#/>Then further down again you have grass pasture <#/>What kind of soil conservation method is that
</I>
S2B073K
<I> 

<$A> <#/>We present Business Education for Standard Six pupils <#/>This is the first programme this term <#/>Our topic today is introduction to business education <#/>We shall listen to a standard six pupil called <name/> and her teacher <#/>They are in a local shopping centre <#/>Let us listen to what they are saying  
<$B> <#/><Name/> we are now at the market place <#/>I want you to look around and tell me what the people are doing <#/>What do you see people doing 
<$C> <#/>I can see some people buying and I can also see some other people selling 
<$B> <#/>And what do you see being sold 
<$C> <#/>I can see a woman over there selling bananas 
<$B> <#/>Yes that woman over there is selling bananas <#/>What else can you see
<$C> <#/>Uh I can see some people taking tea and <ea/>mandazi in a kiosk 
<$B> <#/>Oh yes <#/>You are very observant <name/> <#/>Now selling of bananas and selling tea and <ea/> mandazi are business activities 
<$C> <#/><-/>Aha I understand <#/>Then if selling bananas and selling tea and <ea/>mandazi are business activities then all this market is full of different kinds of business activities 
<$B> <#/>You are right <name/> <#/>This market is full of different kinds of business activities 
<$C> <#/>Then what would you say about that man over there pulling a <ea/>mkokoteni and that other man there repairing shoes
<$B> <#/>Well <name/> that man pulling a <ea/>mkokoteni is in a business activity <#/>The man repairing shoes is also in a business activity <#/>Pulling a <ea/>mkokoteni repairing shoes are all business activities <ea/>
<$C> <#/>Teacher why was that man ringing the bell shouting so loudly 
<$B> <#/>That man is doing business <name/> <#/>He is ringing the bell to attract customers to buy his blankets <#/>Do you know who customers are 
<$C> <#/>No teacher <#/>Please explain to me what the word customer means 
<$B> <#/>Very well <name/> listen carefully then <#/>A customer is a person who buys things from other people <#/>For example when you buy something from a shop you are a customer of that shop <#/>If you buy a blanket from that man then you are a customer of that man <#/>So the man who is ringing the bell is trying to attract customers to come and buy his blankets 
<$C> <#/><-/>Aha I understand now <#/>Then that shop over there has very many customers buying from it 
<$B> <#/>You are right <name/> <#/>That shop over there has very many customers buying from it 
<$C> <#/>But the owner of the shop is not ringing a bell to attract customers <#/>Why are there so many customers attracted to that shop
<$B> <#/>Well <name/> I think the best thing to do is to go there and find out <#/>Let’s go to that shop and find out why there are so many customers <#/>I know the owner of the shop <#/>His name is Mr <name/> <#/>Let us go  <#/>How are you Mr <name/> 
<$D> <#/>I am quite fine <ea/>mwalimu <#/>Is there anything I can sell to you and your pupil <#/>I have many things in this shop <#/>I have sodas biscuits sweets bread and a lot of other things 
<$B> <#/>Well Mr <name/> we are not buying anything just now <#/><Name/> and I are trying to see the business activities taking place in this shopping centre <#/><Name/> noticed that your shop has very many customers <#/>She wants to know what you do to attract so many customers 
<$D> <#/><ea/>Mwalimu I’ll be very happy to explain to your pupil why many customers come to buy in this shop <#/>Most customers come to this shop to buy because I have kept many of the things they need <#/>As you can see my shop is well stocked with different kinds of goods <#/>By stock I mean the items that are kept in the shop for selling 
<$C> <#/>Yes I can see that your shop is really well stocked with goods <#/>What else do you do to attract customers 
<$D> <#/>Well <name/> if you look at the things in this shop I have marked out their prices <#/>I normally sell my goods at fair prices <#/>So many customers find goods a bit cheaper in my shop <#/>Another thing I do to attract customers is to give them a discount <#/>When customers buy goods from my shop I give them a discount <#/>That is how I attract my customers and that is why they keep coming 
<$C> <#/>Is there anything else that you do to attract customers
<$D> <#/><-/>Ah yes of course <#/>One thing about customers is that they like honest and friendly shop-keepers <#/>If customers discover that a shop-keeper is dishonest and unfriendly then the customers will run away from such a shop-keeper <#/>So being kind and friendly is another way of attracting customers 
<$C> <#/>You are a very wise business man Mr <name/> <#/>Where did you learn all these methods of attracting customers 
<$D> <#/>All these things I learned them in school  <#/>I learned them in business education classes <#/>You are very lucky <name/> because your teacher is now teaching you business education in your school <#/>When you leave school maybe you’ll start a business like mine of keeping a shop 
<$C> <#/>Yes and if I start a business like yours I will do just like you are doing sell things at fair prices be honest and friendly to customers and give them discounts 
<$B> <#/>Now that you have mentioned something about starting a business Mr <name/> perhaps you could tell <name/> how you started this business of yours 
<$D> <#/>Well it is a long story <#/>As I have told you I was taught business education in school <#/>It is this knowledge which I gained from school that helped me to start the business <#/>But for me to start a business money was required <#/>You cannot start a business without money 
<$C> <#/>How did you get the money Mr <name/> 
<$D> <#/>To start my business I got money from different sources <#/>I got a loan from the bank <#/>I sold some of the property I had and all that I added to my savings <#/>All that money enabled me start this business of shop-keeping 
<$C> <#/>I think it is a big job to keep a big shop like this one with all that stock <#/>Do you really know how much stock you have in the shop Mr <name/> 
<$D> <#/>Yes <name/> a good shop-keeper and in fact a good business man keeps a record of all the things in a business <#/>As for me I keep a record of all the things you see in the shop <#/>In fact I keep a record of the things which I buy and a record of all the things which I sell <#/>Everyone should know that it is very important to keep a record for your business <#/>Without a written record it would be difficult to remember anything about your business
<$B> <#/>Thank you very much Mr <name/> for what you have told us about your business <name/> and I will return to school <#/><Name/> let us return to school <#/>But I want us to pass near that other shop over there which seem to be having only one customer 
<$E> <#/>You have given me the wrong change <#/>Why I bought goods worth shillings forty-nine <#/>My change should be fifty-one shillings but you have given me forty-five shillings <#/>Give me my correct change
<$F> <#/>What’s wrong with you women <#/>Your change is forty-five shillings and that is all 
<$E> <#/>You are cheating me <#/>My change is fifty-one shillings <#/>If you are not giving me my change of fifty-one shillings then take back your goods and give me my money back <#/>I’m going to buy from another shop <#/>You are a dishonest shop-keeper 
<$F> <#/>Listen to me woman <#/>Once goods are sold from this shop they are not returnable <#/>So take your things away and go away before I lose my temper 
<$E> <#/>You are a very rude shop-keeper <#/>You are not honest <#/>You overcharge <#/>I will never buy anything from this shop again 
<$B> <#/><Name/> let us also go away <#/>This shop-keeper is not a good business person <#/>He is very unfriendly to his customers <#/>I am happy we are far away from that man’s shop <#/>He is rude to his customers <#/>Anyway we have learned something from him <#/>Let us talk about our day in the shopping centre <#/>We have spent a very busy day in the shopping centre <#/>Let us try to remember what we have learned from the shopping centre <#/>One of the things we have learned is that there are many types of business activities <#/>Can you remember some of those business activities 
<$C> <#/>Yes I can remember selling bananas and vegetables pulling <ea/>mkokoteni repairing shoes selling tea and <ea/>mandazis in a kiosk are all business activities 
<$B> <#/>That is correct selling bananas and vegetables selling tea and <ea/>mandazi pulling <ea/>mkokoteni and repairing shoes are all business activities <#/>Now <name/> if you keep a business of your own what would you do to attract customers 
<$C> <#/>I would do like Mr <name/> <#/>I would sell my goods at a fair price and not overcharge like the bad shop-keeper we saw 
<$B> <#/><-/>Aha 
<$C> <#/>I would be honest and friendly to my customers <#/>I would also keep the things which the customers need and display them well 
<$B> <#/>That is correct <name/> <#/>To attract customers goods should be displayed well and prices should be fair <#/>Being friendly and honest giving discounts are all good ways of attracting customers <#/>What do you think of the second shop-keeper <name/> 
<$C> <#/>I think the second shop-keeper did not learn business education at all <#/>That is perhaps the reason why he did not know how to attract customers 
<$B> <#/>That is very good <name/> <#/>Tell me now what would you do to enable you to know about all the things in a business 
<$C> <#/>Keep records <#/>I would keep a record of everything I have in my business 
<$B> <#/>Correct <name/> <#/>For every business a written record is very important <#/>Without a written record one cannot know everything about the business <#/>Let me now summarise what we have learned from the visit to the shopping centre <#/>At the market centre we saw different business activities taking place there <#/>Examples are selling of bananas and vegetables pulling of <ea/>mkokoteni and repairing shoes selling tea and <ea/>mandazi in a kiosk keeping a shop <#/>All those are business activities <#/>Secondly we met a shop-keeper who explained to us about how to start a business <#/>We learned that to start a business money is needed <#/>Some sources of money are loans from banks and personal savings <#/>Thirdly after a business has been started one must attract customers <#/>Some ways of attracting customers are keeping what the customers need selling goods at fair prices giving discounts being honest and friendly to the customers and displaying the goods in a good way <#/>For every business a record must be kept <#/>Without a written record it would be difficult to remember everything about a business <#/>And finally skills and knowledge learnt through business education will enable us to become good business men and business women  
<$A> <#/>That was programme number one in the Business Education Series for Standard Six Pupils <#/>Your presenters were <name/> <name/> Fidelis <name/> Peter <name/> Elisabeth <name/> and John <name/> <#/>The programme was recorded by Henry <name/> and produced by <name/> <name/> for Educational Media Service Kenya Institute of Education <#/>Next week we shall learn about importance and sources of money <#/>And until then good bye  </I>
<I> 

<$A> <#/>We present Business Education for Standard Six Pupils <#/>This is the second programme this term <#/>The topic is importance and sources of money <#/>The radio pupil <name/> and her teacher will be talking about importance and sources of money  
<$B> <#/>Hello standard-six pupils <#/>Today we shall be talking about importance and sources of money <#/>So I want you to listen carefully to our discussion <#/>Now <name/> last time I asked you to go and ask your grandfather to tell you how people traded long time ago <#/>Did you do that
<$C> <#/>Yes teacher I did 
<$B> <#/>And what did he tell you 
<$C> <#/>He told me that people used to exchange goods for other goods 
<$B> <#/>Did your grandfather explain to you what is meant by exchanging goods for goods 
</I>
S2B074K
<I> 

<$A> <#/>We present oral narratives for forms three and four <#/>This is the first of eight programmes on oral narratives <#/>In this introductory programme we shall discuss the stylistic aspects of oral narratives <#/>With me in the studio is a panel of oral literature students <#/>Welcome to the programme
<$B> <#/><name/> can you start us off by telling the listener what oral literature is
<$A> <#/>Oral literature can be defined as those utterances whether the spoken recited or sung but whose composition and performance shows some artistic characteristics
<$B> <#/>Why do you describe oral literature as artistic
<$A> <#/>Oral literature is artistic in that the performer must show some accurate observation vivid imagination and ingenious expression during performance
<$B> <#/>If oral literature means those words that are composed and performed through the spoken word or by word of mouth what is the relationship between oral and written literature <#/>How can literature be oral
<$C> <#/>We call narratives proverbs recitations songs and other forms of oral performance as literature because like the written literature they use language as the medium of communication <#/>Also like written literature oral performances are artistic <#/>They are intended to move us by appealing to both our understanding and our feelings <#/>The written literature also does this by presenting us with well observed characters situations or incidents and by using language effectively to communicate to us
<$B> <#/>Does that therefore mean that we analyse oral literature in the same way as we analyse written literature
<$C> <#/>That's right <#/>There are certain stylistic features that are common in both written and oral literature but in oral literature we must always remember that the basic expression is the spoken word
<$B> <#/>What stylistic aspects are common in both written and oral literature
<$C> <#/>Structure language and characters are some of the stylistic aspects found in both oral and written literature
<$B> <#/>Today we are dealing with oral narratives <#/>What can you say is the basic structure of oral narratives
<$A> <#/>Narratives are told in prose <#/>Normally narratives are longer and more elaborate than the other genres of oral literature <#/>A narrative tells a story and a story has a sequence of events
<$B> <#/>Is there any technical term to refer to this series of events
<$A> <#/>Yes the series of events in a narrative are called plot <#/>In most oral narratives the plot is very simple <#/>The events occur in a straight line one after another <#/>But in other narratives the plot is very complex
<$B> <#/>What is a complex plot
<$C> <#/>A narrative may have two or more plots running side by side or at the same time <#/>You may also find a narrative that combines a number of stories <#/>A narrator can do this to create suspense in the audience <#/>He may also create suspense by repeating certain events
<$B> <#/>Is the repetition you are talking about confined only to the plot of the narrative
<$C> <#/>Not at all <#/>We also get certain expressions repeated <#/>For example a narrator may say he walked and walked and walked then he sat down to rest and he rested and rested and rested <#/>This repetition shows us the extent of the character's tiredness <#/>It also establishes the amount of time the walking and the resting takes place
<$B> <#/>Many oral narratives begin with phrases like once upon a time a long long time ago a certain man or woman once in a certain place once there lived and many others <#/>What do you call such phrases and what's their role in oral narratives
<$A> <#/>Phrases that appear in almost all narratives in the same form are called stock phrases Stock phrases are used as stylistic devices in oral narratives <#/>Phrases like once upon a time introduces  the narrative <#/>It also draws the audience to the world of fiction or to the remote past <#/>The narrator would convey the events as they occur in the narrative by using phrases such as then after that
<$B> <#/>Talking about stock phrases reminds me of those characters who appear in most narratives <#/>For example the hare the hyena and the tortoise are the commonly used animal characters in most communities in Kenya
<$A> <#/>Among the Luhya of Western Kenya the girl <name/>Simbi is the most common human character in the narratives and among the Luo it is the boy <name/>Obongo
<$B> <#/>What you call such characters
<$C> <#/>Characters who dominate narratives are called stock characters <#/>The hare or the hyena who dominate Kenyan narratives are stock characters <#/>Also <name/>Simbi in Luhya narratives and <name/>Obongo in Luo narratives are stock characters
<$B> <#/>What are the functions of characters in narratives
<$A> <#/>As we have just said characters in oral narratives can be human beings animals monsters rocks plants spirits or gods <#/>They are usually used to reflect certain qualities like generosity or selfishness wit or stupidity humility or vanity <#/>Spirits and divine characters represent the supernatural forces <#/>Because the characters in narratives represent certain values we technically refer to that aspect of style as symbolism <#/>We can say for example such and such a character symbolises such and such a thing
<$B> <#/>We talk about the interaction of characters in the narratives <#/>How do the characters interact
<$C> <#/>Characters in narratives interact through their speeches and actions <#/>In many narratives characters have direct conversation between them <#/>This is also regarded as an aspect of style in oral narratives <#/>It is called the use of dialogue
<$A> <#/>But there is something more on this <#/>Sometimes a character is said to be talking loudly to himself or he may be debating on what to do in his mind <#/>This aspect of a character talking to himself is called monologue <#/>It is a common stylistic feature in oral narratives
<$B> <#/>We have talked about the use of dialogue and monologue in oral narratives <#/>What can you say about the use of song in oral narratives
<$A> <#/>Songs are commonly used in oral narratives <#/>Their usage can be said to be another aspect of style in oral narratives
<$B> <#/>I believe that songs serve certain purposes in different narratives <#/>What are some of these functions
<$C> <#/>Songs have four main functions in oral narratives <#/>Firstly they usually reinforce the themes in the narratives and offer comments on the events and characters <#/>Secondly songs may act as a means of communication between characters in the narratives <#/>Thirdly they create mood in the narratives <#/>The mood will be conveyed or carried in the narrator's voice <#/>For example if the story is sad we expect a depressed mood in the song <#/>Finally songs break the monotony of narration
<$B> <#/>We can then say that song is a device that helps in sustaining the audience's attention <#/>But is song the only method of sustaining the audience's attention
<$A> <#/>No the narrator can also sustain the audience's attention by asking questions or repeating certain sections of the story or repeating the songs during narration <#/>This creates suspense <#/>It is also a stylistic feature of oral narratives
<$B> <#/>Let us now discuss the stylistic features which are closely related to performance <#/>How are the narration sessions introduced
<$C> <#/>Different communities have different ways of introducing their narration sessions <#/>For example among my people the Luo the session of narration is introduced by the narrator saying <ea/><O/> <#/>This means let the house go gracing let the house go to the end let the house come to the middle let the house be silent
<$B> <#/>I'm sure everybody will listen and wait for the narrative after this announcement <#/>What happens next
<$C> <#/>The narrator then introduces the narrative by asking <ea/> can I tell you a story and the audience replies <ea/> tell us a story <#/>He then begins the story <#/>Among the Akamba community the general opening formula is always the same <#/>Whenever a narrator is telling a story to many people he or she would begin this way <ea_><O/> <#/>You take a story and the audience would say <ea/><O/> we have taken <#/>But if the narrator is telling a story to an individual he would say <ea/><O/> take a story and the listener would respond <ea/><O/> I have taken
<$A> <#/>The Agikuyu  start their narration in this way <#/>The narrator would say <ea/><O/> I am going to tell you a story and the audience would respond <ea/><O/> tell us <#/>This is when the narrator is telling the story to many people <#/>When he is telling the story to one person he begins like this <ea/><O/> I am going to tell you a story and the listener would say <ea/><O/> tell me
<$B> <#/>In the three examples you have given us we've noticed that the opening formula is simple and straight forward <#/>The narrator uses a stock phrase or formula to alert the audience that he's going to tell them a story <#/>The audience in turn acknowledges their readiness to listen to the story <#/>How does the Kiswahili speaker start her narration
<$C> <#/>The Kiswahili narrator starts the narration session like this <ea/><O/>
<$B> <#/>You've given us the opening formulas of oral narratives from four communities <#/>Do these communities also have closing formulas
<$C> <#/>Yes among the Luo the closing formula goes like this <ea/> which means the end <#/>May I grow as tall as my uncle's tree <#/>It is important to note that this formula marks the end of just one narrative
<$B> <#/>Does that mean that there is another formula to mark the end of the whole narrative session
<$A> <#/>Yes
<$B> <#/>How does it go
<$A> <#/>I got this formula from the anthology Keep My Words by <name/>Oniango <name/>Ogutu and <name/>Rosku <#/>It goes <ea/> which means tale end at bedroom tale end at door tale end at bedroom tale end at ledge
<$C> <#/>The Akamba use different closing formulas depending on the theme and the moral of the narrative <#/>Usually the formula is in the form of a proverb or a wish <#/>It is important to note that the proverb or the wish is expressed after the narrator has ended her narration by a stock formula like this and that is the end of my story or my story ends there
<$B> <#/>Could you tell us some of the wishes the Akamba story teller may express at the end of the narration
<$C> <#/>Depending on the mood or nature of the story a narrator may use one of the following wishes <#/>May you become rich in vermin in your provisions shed but I in cows in my cattle kraal or may your cattle eat earthen mud but mine the good grass or you'd better swing with the tail of the panther while I swing with that of a sheep
<$B> <#/>What is the meaning of the wishes which come at the end of a narration
<$A> <#/>They pose a challenge to the audience <#/>The Akamba narrator is to be better off than her listeners <#/>For example a sheep's tail is fat and edible and the audience had better learnt to tell stories themselves so that they can eat a tail of a sheep
<$B> <#/>I'd like to add that some closing formulas can be meant for jokes just like the stories are meant for entertainment <#/>They can also reflect the practices of a given community <#/>Some of the closing formulas are one and that is the end of my story two they remained three and to this day it is on record <#/>It is important to note that while not all communities have opening formulas during their narration sessions the formula closing a narrative occurs in most African communities <#/>So far you have not said anything about the role of the narrator in a narration session <#/>What is her role
<$C> <#/>The narrator plays a central role in the narration <#/>A good narrator will make the narrative lively by using physical gestures like nodding pointing a finger or just holding his cheeks <#/>He can also vary his voice and facial expressions show agony or joy anger or happiness
<$B> <#/>Why is it necessary for a story teller to use gestures or vary his voice
<$C> <#/>It is usually for the purpose of imitating the characters in the narrative <#/>It is part of performance
<$A> <#/>In fact I'm reminded of a popular story my grandmother narrated to me some time back <#/>In this story Hare burns Elephant to death by pretending to make him shoes <$B> <#/>You have been listening to a form three and four programme on oral narratives entitled Stylistic Aspects of Oral Narratives <#/>In this introductory programme we said that one narratives are told in prose and are longer and more elaborate than the other genres of oral literature <#/>Two most oral narratives have a simple plot <#/>Three in oral narratives suspense is created by repeating certain words or phrases or songs <#/>Four phrases that appear in almost all narratives in the same form are called stock phrases <#/>We also said some communities had stock characters because these characters are found in nearly every narrative in that community <#/>Examples are the hare the hyena and the tortoise <#/>Five characters in oral narratives are used to reflect certain qualities in real life like generosity selfishness wit stupidity humility or vanity <#/>Six oral narratives use dialogue and monologue to enable communication between characters Seven we said that songs in oral narratives have four main functions <#/>They reinforce the theme of the narrative they are used as a means of communication between characters in the narrative they create mood and finally they break the monotony of narration <#/>We said that different communities have different ways of introducing and closing their narration sessions <#/>Finally we said that successful story telling depends on the performance of the narrator <#/>His or her ability to use artistic skills to involve the audience fully in the narration
<#/><#/><#/><#/><I>
S2B075K
<I> 
<$A> <#/>We present the second of the eight programmes on oral literature for forms three and four <#/>In this programme we are going to discuss the performance of oral literature <#/>With me in the studio are the radio teacher and his two students <#/>Welcome to the programme
<$B> <#/>Hello students <#/>Last week we discussed the stylistic aspects of oral narratives <#/>In that programme we mentioned briefly the role of performance in oral narratives <#/>Today we are going to discuss in detail the role of performance in oral literature and especially in the areas of oral narratives songs proverbs and riddles <#/>In particular we shall try to answer these questions <#/>One who undertakes these performances <#/>Two when and where are they performed <#/>Three who listens to them and four for what purposes are oral performances undertaken <#/>As we answer these questions we will inevitably discuss the roles of the oral artist and his audience in a live performance <#/>Let us start with the narratives <#/><Name/> would you like to start us off by telling us who tells the stories
<$D> <#/>Yes oral narratives are told and retold by anybody in the community men women children and even elders <#/>Anybody who can tell a story is asked to do so
<$C> <#/>May I add that some people tell stories more dramatically than others <#/>Such narrators are recognised and appreciated by the community for their art <#/>They can therefore be regarded as professionals
<$B> <#/>You are right <#/>In Kenya we have professional story tellers except that they are not paid for telling stories <#/>This is unlike in some parts of Africa especially West Africa where professional narrators travel from village to village telling stories and living off their art <#/>In some cases they are paid handsomely <name/> could you tell us who tells which stories
<$D> <#/>The elders and a section of adults usually tell myths and legends <#/>This is because myths and legends contain abstract ideas that are not really for children <#/>On the other hand children usually enjoy telling folk tales especially trickster narratives and even within this class there are narratives that children enjoy telling each other most
<$B> <#/>You are right <name/> <#/>Narratives are never told at random <#/>There is always selection <#/>Selection on the basis of subject matter and audience <#/>Elders tell narratives of a serious nature while others are left to relate those that are light hearted or humorous <#/>Let us now look at how narratives are told <#/><Name/> take that
<$C> <#/>In some communities people take turns to tell stories <#/>This is true of the Agikuyu  Luhya Luo Meru and Akamba communities <#/>Amongst the Akamba people for example people sit in a circle and each one present tells a story in turns <#/>In such cases there is equal chance for everybody to tell a story
<$B> <#/>Thank you <name/> <#/>If in such a situation one is not able to tell a story he or she is not highly regarded or rated <#/>Yes <name/> you have something to add
<$D> <#/>In other communities the people just sit together in a group in an open field or ground and one person tells stories to the crowd
<$B> <#/>That is true <name/> <#/>Story telling is seen as a communal and public activity <#/>Anyone tells a story at a social occasion <#/>Let us ask <name/> to tell us where the stories are told
<$C> <#/>As we have already implied in the past in some communities stories were told on open grounds in the village where all people were gathered <#/>These open grounds however were not only reserved for story telling <#/>They were communal meeting places where most social activities took place <#/>In other communities these stories were told in houses where the various groups of people were gathered
<$B> <#/>Correct <name/> <#/>Some stories are told in the grandmother's hut <#/>Others are told in huts where the boys or girls sleep or places where children are gathered
<$C> <#/>We found out that amongst the Luo community the stories are told in <ea/> where the boys sleep or <ea/> where the girls sleep <#/>Here the girls or boys tell each other stories
<$B> <#/>Let us now look at when stories are told <#/><Name/> when are stories told and why are they told at that specific time
<$D> <#/>As we mentioned earlier on stories are told in the evening <#/>In fact in most communities it is considered bad and even a taboo to tell a story during the day <#/>For example in some sections of the Abaluhya  it is believed that if you tell stories during the day you will never grow tall <#/>Height is then seen as a mark of beauty
<$C> <#/>And there is a reason for these kinds of beliefs myths if you like <#/>The community wants to discourage its members from sitting down and telling stories during the day while the daily chores are left unattended to
<$B> <#/>You are right <#/>Stories are told in the evenings around seven or later and always after supper <#/>And it serves another good purpose <#/>In the evenings the people are idle and since the stories are often captivating they're a form of entertainment <#/>They serve the same purpose as our TVs videos films and music halls serve <#/>Now tell us to whom the stories are delivered
<$D> <#/>In most communities women and children tell and will be told fictional stories
<$B> <#/>And there is perfect logic in it <#/>Fictional oral narratives contain and present human affairs the daily exploits of human beings <#/>They also present human values <#/>In the traditional set-up women were the custodians of the community's values and beliefs <#/>So they have the duty to pass this on to their children <#/>No wonder the stories that carry such values have to be told to them <#/>What about the men and the boys <#/>Why do they have to be told legends and myths
<$C> <#/>I will take that <#/>They have to be told legends because legends talk of wars migration and the general history of the community <#/>The myths contain religious material <#/>It must be remembered that traditionally the men are the custodians of the religious beliefs of the community <#/>It is also their duty to protect the society by participating in and propagating the history of the community <#/>No wonder they have to be told myths and legends which contain that information
<$B> <#/>Correct <name/> <#/>Let us move on <#/>We have so far seen that oral narratives are told to the members of the community and are a form of entertainment <#/>I should add that in all communities in Kenya the story telling sessions are often looked forward to <#/>Could you tell us what makes the audience enjoy them <name/>
<$D> <#/>Partly it is because of the content <#/>As we said earlier the themes and subjects treated are very interesting and relevant to our social life <#/>But perhaps what makes them extremely interesting and appealing is the art of story telling employed by the narrator
<$B> <#/>What do you mean by that
<$D> <#/>The narrator acts out the story <#/>He mimics the voices of the various characters as tradition sets <#/>For example if he's telling the story of a trickster he imitates the trickster <#/>Amongst the Luhya he lisps or stammers as he delivers the trickster's words <#/>He also delivers them in a shrill high pitched voice
<$C> <#/>Besides this imitative speech the narrator will also act out several movements <#/>He waves his hands shakes or nods his head and mimes the various activities done by the characters in a story
<$B> <#/>You are right <#/>The various facial expressions bodily movements tonal changes are used in the telling of the story <#/>Indeed the narrator is a dramatist and this often enhances the story and makes it appealing <#/>Let us now look at the oral artist <#/>When is a narrator pronounced an excellent narrator by the audience <#/><Name/> tell us
<$C> <#/>A good narrator as we have suggested is one who dramatises the narrative effectively <#/>Secondly he is that one who renders the narrative according to the accepted format
<$B> <#/>You are correct <#/>Every community has its own way of starting a story <#/>If you tell a story and you fail to use this formula then the community is not pleased <#/>So besides dramatisation a good narrator is one who can tell a story according to the accepted or known conventions in a given community <#/>Do you have anything else to add <name/>
<$D> <#/>Yes a good narrator is one who knows the language well <#/>Such a person can tell a story fluently and display a wealth of vocabulary
<$B> <#/>You are right <#/>A good narrator was and is one who has a rich language with a number of idioms proverbs and apt vocabulary <#/>You two have told us the role of the oral artist <#/>Can you tell us about the role the audience plays in an oral performance <#/>Yes <name/>
<$C> <#/>The audience is as important as the narrator <#/>Often an audience is very active <#/>They are very attentive and are instrumental in making the performance either good or poor <#/>The audience is either an active or a passive audience <#/>The narrator looks at the audience as he narrates the story and if they show delight or interest he is encouraged to continue <#/>If they're passive then the narrator is inclined to cut the story short
<$B> <#/>Both of you are correct <#/>The audience often decides on one the type of story to be selected two how it is to be told three when it is to end <#/>An audience can even decide on the length of the story telling session <#/>The audience is an integral part of story telling as their response inspires the oral artist <#/>But we must remember that performance is important not only in oral narratives but also in other forms of oral literature such as songs recitations and riddles and proverbs <#/>Now <name/> can you tell us about songs when where and by whom they are performed
<$C> <#/>Songs are always performed on specific occasions <#/>Such occasions may be ceremonies feasts celebrations initiation birth marriage victory funerals or even at work <#/>Children also sing as they play
<$D> <#/>Songs are sung by a special group or an individual or by anybody gathered in the place where the event is taking place <#/>It all depends on the occasion
<$B> <#/>The occasion plays a very important role in the performance of a song <#/>It decides the kind of song to be sung and it even determines the kind of singing to be done <#/>If for example the occasion is a sad one than the songs with a sad mood would prevail <#/>Or still if the singers are well treated by their host they sing many songs with happiness and in <-_the> praise of their host <#/>On the contrary if they are disappointed their songs may be full of abuse or insult <#/>The environment enhances the song <#/>Besides the occasion what other items are used to enhance the song
<$D> <#/>There are also other things like musical instruments the singers' costumes and even their ululations that enhance the singing
<$B> <#/>You are right <#/>The song is often sung with accompaniment <#/>Usually the song is sung with plenty of dancing <#/>In some cases a song may be dramatised <#/>The beauty of a song therefore does not only depend on the words but also on these other aspects of a song <#/>They play a great part in either making the song beautiful or more meaningful <#/><Name/> would you like to tell us something on who performs songs
<$C> <#/>Songs can be performed by either a group or an individual <#/>Let me add that like narratives a song is often a communal activity <#/>Songs are sung by anybody but there are people that are recognised as good singers <#/>Such people are showered with gifts during the singing although these gifts are never looked at as payment
<$B> <#/>Thank you <#/>When is a singer considered a good singer
<$D> <#/>This recognition is often accorded to soloists <#/>A soloist is considered a good singer if his voice is clear and if he sings with confidence <#/>When a singer does this his song becomes interesting and even moves the audience into some activity like dancing or ululating
<$B> <#/>Such singers sing the songs so <-/emotively> that the audience is compelled to feel what the soloist says or sings <#/>Let us look at the audience <#/>What is their role in the performance of a song
</I>
S2B076K
<I> 

<$A> <#/>We present the work of school guidance counsellors for all our listeners and especially to the teacher counsellors

<$A> <#/>Today we are beginning a series of eight discussions about the work of school guidance counsellors <#/>This series has been prepared by the guidance and counselling section of the Ministry of Education Science and Technology for teacher counsellors and the general public in the hope that they will understand the sincere interest of the ministry in providing services which will help students make the best possible use of their education opportunities and which will help them find a job that will prove both self-fulfilling and of value to Kenya and the world of which we are part
<$B> <#/>Our students are making good use of the educational opportunities in so far as they understand what education is all about <#/>Most of them are taking the education that will lead to exam success and opportunities for higher education or employment seriously <#/>But education in our rapidly changing world means far more than passing examinations and finding employment
<$A> <#/>You are right <#/>In the first place education means gaining an understanding of the forces at work in a developing society of our dependence on each other of our relationships with other nations of our use of natural resources and so on <#/>For example as we learn the great value of our forested areas in bringing the rainfall that is so essential to the production of food can we justify the continued use of charcoal for fuel
<$B> <#/>Surely it is understanding of things such as these rather than the mere accumulation of facts that brings about desired changes in a society <#/>Thus education means developing new appreciations <#/>Do we appreciate people and the work they do <#/>From the artist who so sensitively captures in a wood carving the wonder of a child he has observed to the aged mother who still tends her <ea/>shamba or her children exploring new patterns of city living <#/>Do we truly value a heritage that has made us dependent on close family ties and traditions for support as we move in a changing society <#/>Are we appreciative of the fact that other cultures around us who are also needing support may find it in other values than our own <#/>Yes it is appreciations of the natural world around us of people of their work of our heritage of the rich and varied cultures that surround us such appreciation gives depth and meaning to education
<$A> <#/>Education also means changing our attitudes too about work for we must understand that all labour which helps people to live happier and healthier lives is important and no contribution toward that end may be regarded as insignificant or unworthy <#/>Do we regard the person who does a conscientious job of keeping our streets and public places clean less important in maintaining a healthy neighbourhood than a doctor or nurse <#/>Perhaps we need to change our attitude about people not all of whom are alike but all of whom experience the same emotional desires frustrations and joys <#/>And what about our attitude toward change itself <#/>Can we adapt to a rapidly changing world <#/>Do we hang on to old traditions just because they're old or do we reach out for new patterns just because they're new
<$B> <#/>Yes these are the concepts which must make up what we call education <#/>Understanding appreciations and positive attitudes are vital to any constructive use of knowledge <#/>We must never allow our concept of education to be limited to acquiring knowledge <#/>Having understood what education means then we can readily see areas in which students need help in sorting out the vast stores of information in finding stability in rapidly changing world and in focusing on their places in the stream of life
<$A> <#/>Too often students do not know how their educational experiences relate to the work they will be doing later in life <#/>They really do not know themselves very well what they want to do or what they're capable of doing <#/>Often they are confronted with learning problems or social or personal problems which may retard or impair their developmental learning and progress <#/>These needs of students have not been adequately met in our schools <#/>There have been a few lucky students who have received guidance from their teachers <#/>This was possible especially in missionary and boarding schools <#/>But earlier the proportion of teachers to students was more favourable than it is now <#/>Today our teachers have very heavy teaching loads and hardly any time to deal with students' needs
<$B> <#/>And yet this help this guidance must be provided by our schools <#/>The school is the largest child and youth service agency <#/>It is the school that has been entrusted with the responsibility for the intellectual and social development of our children and young people <#/>Moreover there are so many things to know and so many changes in the way we live and work that it takes many people working together to provide the information and help which these students need before they can make wise decisions about their future <#/>And it is during this period in a young person's life when he is most interested in learning about the adult world toward which he is moving <#/>Surely the school has or can obtain more resources than any other institution to facilitate that learning
<$A> <#/>This is what the Ministry of Education believes <#/>Several years ago they made some very wise observations <#/>They realised that in a modern and rapidly expanding educational system it is natural that primary attention is focused on developing new curricula and new teaching methods on organising new programmes and financing new projects <#/>But while all these expansion and development is taking place to provide opportunities for the young people to prepare for and to assume responsible positions in society and to more fully understand and appreciate the world in which we live we may well be defeating ourselves by losing sight of the student in the system
<$B> <#/>You're so right <#/>We are producing syllabi which are relevant to the further educational needs and the employmental requirements of our students <#/>We are developing teaching formats which motivate the average student to give his best effort to learning <#/>We're providing modern laboratories and libraries to support the efforts of both students and teachers <#/>These are all worthy achievements and should be encouraged <#/>But what if the student is unable to take advantage of all these assets
<$A> <#/>That is the point <#/>Consider the student who has personal problems that dominate his attention <#/>For example consider the boy whose concern is for a <O/> and overworked mother who has put in several hours of work at home before coming to school and whose only interest during school hours is the responsibilities awaiting him when he returns home <#/>Is he in a position to take advantage of relevant syllabi or modern laboratories or think of the student who has come to think of himself as a failure in whatever he undertakes <#/>Is he in a position to make the best use of the educational resources around him
<$B> <#/>Certainly uh first of all we must consider the student learning to handle personal problems to understand one's capacities and limitations to arrange priorities to make decisions <#/>These are all important attributes for the student who is to make the best use of his educational opportunities <#/>Besides he needs to know the relationship of his current studies to the employment he may later seek and he surely needs to know the variety of work opportunities that may be open to him
<$A> <#/>These are all vitally important considerations for secondary school students <#/>And somebody has got to see that they have a chance to explore them <#/>This is where the idea of a guidance and counselling programme comes into the picture <#/>You see guidance as a continuing process one that is concerned with the developmental needs of all students <#/>To be effective it must be a systematically planned programme focused on helping young people to understand themselves and their relationship to the world in which they live and to that adult world toward which they are rapidly moving <#/>Do you think people especially the students recognise the importance of guidance and counselling
<$B> <#/>No I'm afraid a lot of folks have never heard of guidance and counselling much less recognised its importance <#/>But the Ministry of Education has recognised it and so they have established the guidance and counselling unit <#/>This unit has been charged with the responsibility of keeping the student and his needs in the central position in the educational system in Kenya <#/>We will hear a great deal more about the guidance and counselling unit and how it is functioning in this series of broadcasts <#/>But uh let's talk for a few minutes about some very special people in our public schools <#/>There are and always have been some teachers who truly believe that their students are the most important part of the school <#/>It is gratifying that they are able to give as much time as some of them do to helping students
<$A> <#/>You are right <#/>In most schools teachers are teaching twenty-eight to thirty-two out of forty periods per week with thirty-eight to forty students in every class <#/>In addition to their teaching responsibilities many of them are carrying additional loads as subject heads class heads or housemasters and there are also extra-curricular responsibilities in the form of sports dramatics and club activities <#/>Along with these demanding and important uses of their time some teachers truly concerned about the students' ability to take full advantage of the school programme are willing to assume counselling duties and are doing their best to make time in their crowded schedules to do this <#/>Often the busiest teachers are the ones who find some free time to help students
<$B> <#/>These teachers would like to meet for a weekly period with form one students to help them adapt to the new school and to become aware of the relationship of the work they do there to their future studies and job opportunities <#/>But there is probably no free period in the timetable for such a meeting <#/>The want meet with form two students either as a group or individually to be sure they have made the psychological and sociological adjustments that will help them derive the greatest benefit from their schooling and be sure they understand the importance of making wise curriculum choices in form three
<$A> <#/>And in forms three and four they want to help them develop an awareness of the world of work that lies ahead by bringing in visitors who can describe a variety of occupations by listening to career tapes prepared by the education media service by making visits to businesses and industries by making available to them written materials describing job and training opportunities and by advising them about opportunities for higher education leading to professional careers <#/>How can students make intelligent choices if they're denied this kind of assistance
<$B> <#/>But how can this kind of assistance be made available to them if concerned teachers are not granted time and space for such a programme <#/>Unfortunately in many of our schools the only assistance students receive is at the time they complete their career's forms in form four <#/>And that is a process that needs to be based on a broad understanding of one's interests and capacities and a realistic assessment of opportunities but which is too often attempted without this understanding <#/>What is the answer <#/>Is it possible that a teacher be assigned to every school whose only responsibility is guidance and counselling
<$A> <#/>No that might be the ideal answer but it is not a practical one at this time <#/>In the first place we still do not have enough teachers for our secondary schools <#/>In the second place Kenya has very few teachers who are prepared to be full-time guidance counsellors <#/>But we have made a good start in the right direction 

</I>
S2B077K
<I> 
<$A> <#/>We present the work of school guidance counsellors for all our listeners and especially to the teacher counsellors

<$A> <#/>Programme two The essentials for good guidance and counselling
<$B> <#/>Last week we talked of the meaning of guidance and counselling and of the student's need for this kind of assistance <#/>We recognised that the student must be at the centre of our thinking as we plan and operate our educational system <#/>For the whole system can be justified only if it is serving the needs of students
<$A> <#/>Today we shall consider the essential elements for the establishment of a good guidance and counselling programme in a given school <#/>I guess I would list in order of importance first a concerned and competent headmaster or headmistress second a concerned and competent teacher counsellor third supportive staff relationships and fourth adequate facilities in time and space
<$B> <#/>Surely uh the headmaster should be at the top of the list for that person carries the ultimate responsibility for the programme and is directly responsible for finding the right person to assume the counselling concerns <#/>Without a headmaster who is committed to placing the student and his needs above all other school considerations it is pretty hard for a teacher to set up a meaningful programme
<$A> <#/>Such commitment means facing up to the kinds of situations that will arise once the guidance and counselling programme is started <#/>For example will the headmaster agree to support his teacher counsellor in finding three or four periods in the timetable so that more responsible consideration will be given to the completion of the careers' forms than was possible last year or another example in the face of the criticism of the mathematics teacher who disapproves of the teacher counsellor keeping some out of class will the headmaster agree that one or more individual counselling sessions with this frustrated student are important in his adjustment to the new school
<$B> <#/>Yes commitment is more than a fine sounding word <#/>It is courage to stand for what you believe is most important even when it means changes that some of your colleagues won't understand <#/>It is patience in interpreting the values on which your decisions are based
<$A> <#/>It is true that the headmaster's influence governs all aspects of the school <#/>He may delegate many responsibilities to other members of the staff but he must remain in close touch with their activities and if a guidance and counselling programme is to be successful it must have the head's unqualified support
<$B> <#/>As the chief administrative officer of the school it is his business to know his staff well enough to be able to pick the right people for special appointments <#/>Surely he should have the judgement needed to choose a counsellor and to help him or her establish the required relationships with the rest of the staff
<$A> <#/>One other reason why a concerned and competent head is so essential to the programme is because he carries final responsibility for determining the counsellor's teaching and extra-curricular loads <#/>For setting up the school timetable and allocating classroom space time and space are among the essential elements and the school head controls at them
<$B> <#/>Sometimes a headmaster assumes the role of counsellor himself <#/>Do you think that is a good idea
<$A> <#/>No not if someone else that is a concerned and competent person is available because no matter how concerned and competent the head may be we must remember his first responsibility must be to the administration of the whole school programme <#/>He simply cannot give the students the personal attention that they should have but he can so administer the total programme that they do occupy that central place in it and he can give full support to the member of the staff chosen to work as the counsellor
<$B> <#/>The teacher counsellor is the second essential element we've mentioned in our list of requirements for a good guidance and counselling programme <#/>Let us consider the kind of a person the head looks for for this special responsibility and it is a special responsibility <#/>And the appointment of the teacher counsellor is one of the most important decisions a school head makes <#/>The foremost qualification of such a person is of course his sincere interest in each student's development as a person and his commitment to a programme that will provide the conditions for that development
<$A> <#/>Right <#/>No teacher should be asked to assume the role of counsellor unless he is so dedicated <#/>He or she needs to be a warm outgoing person who can inspire the confidence of students and the support of fellow staff members because he will undoubtedly be consulting at times with parents and others in the community <#/>He will serve as a public relations <-_persons><+_person> interpreting the true meaning of education and the school's concern for the well-being of each student

<$B> <#/>And he will need initiative for in most situations the guidance programme has not been developed to serve in all the areas that it should <#/>He will need organisational ability to establish priorities for there will be many and varied demands on his time and of course he will need to be a person of mature judgement
<$A> <#/>It sounds as if the teacher counsellor must be some kind of superperson and of course that is exactly what he or she is <#/>Fortunately such people do exist <#/>They have been teaching in our schools since the very beginning and they are there now <#/>They wait to be identified to be recognised for the service they're giving and to be encouraged to develop the full scope of guidance and counselling services in our schools
<$B> <#/>We should talk a bit about supportive staff relationships <#/>One may ask the question If a school has a headmaster or headmistress and a teacher counsellor both of whom are dedicated to a viable guidance and counselling programme do the rest of the school staff need to participate in it <#/>Of course they do <#/>Every staff member who comes in contact with the student asserts a positive or negative influence on his life <#/>Whether they recognise it or not they are helping or hindering that student's development toward responsible maturity <#/>Of course it is the purpose of the school that these contacts should be positive
<$A> <#/>Yes at the same time these staff members are in positions to make many observations which are denied to the head and the teacher counsellor <#/>The class teacher meets his students briefly every day and observes their changing attitudes <#/>The house master gets to know them in their informal hours <#/>The sports master sees them under stress and understands their frustrations and joys <#/>The subject teacher is aware of their determination to succeed or conversely of their disinterest <#/>All these people are needed to support the guidance and counselling programme
<$B> <#/>Actually the headmaster and the teacher counsellor are the co-ordinators of the programme <#/>Surely they will have personal contact with all students as far as time will allow but they must depend on the support and assistance of all other staff members in helping them know the students and understand their needs
<$A> <#/>True the guidance and counselling effort to be successful must be a team effort and this fact adds emphasis to the importance of choosing as the teacher counsellor a person who can inspire the rest of the staff to take an active interest in the programme
<$B> <#/>And what about the essential element in a good guidance and counselling programme adequate facilities in time and space <#/>Generally finding space for the programme does not present the challenge but finding time for it does <#/>But uh it must be thought about <#/>One essential requirement is for a place where a counsellor and student can talk together without distraction <#/>This might be in the counsellor's classroom during periods when it is not in use or in a small office at a time when it is not occupied <#/>It might be in a corner of the school library or in the chapel at hours when they're not in use <#/>It might be in an area of the school grounds where there is little traffic <#/>The actual place is not important as is the sense of security that the student must have in knowing that he is speaking with an advisor who respects his confidence <#/>In many instances this means that he will want assurance that he's not being observed or overheard by other students or staff members <#/>It is most helpful if such meeting place is available at specified hours

<$A> <#/>A counsellor needs a space to keep reference materials professionally oriented materials that will help him grow in his understanding of his new responsibilities educational and vocational reference materials for his own use but especially for the use of students as they learn to search out information they need and books and pamphlets which challenge the imagination of students as they think ahead to new roles they will play in society <#/>Again where this space is is not as important as that there is space <#/>It may be on certain marked shelves in the library <#/>it may be in a cupboard or on a shelf in the counsellor's classroom <#/>Hopefully it will be where a student will have easy access to it and where a reading table and chair will permit him to study it and take notes from it
<$B> <#/>Sometimes a greater amount of space is needed <#/>For example a speaker comes to talk to form four students about employment in a particular industry or a group of students want to listen to several career tapes from the educational media service or form one students as a group need some help in learning how to adjust to new school situations <#/>Usually these kinds of group meetings will be scheduled far enough in advance so that a vacant classroom or an empty assembly hall may be utilised
<$A> <#/>Very few schools have surplus space to be allocated solely the purposes of the guidance and counselling programme <#/>But for the teacher counsellor who is well organised and plans ahead and who has a supporting headmaster the problem of space is not one that seriously hinders the programme <#/>But what about the problem of time
<$B> <#/>That is the real problem <#/>As the shape of the desired programme evolves the head master and the teacher counsellor will need to face the hard facts of allocating time for it within the teacher counsellor's twenty-four-hour day and within the school timetable <#/>Every school is hard-pressed to set up a realistic timetable which will allow for a well-balanced education with a minimum number of teachers <#/>Making room for a sound counselling programme within this framework will be a true test of the school's commitment to it
<$A> <#/>If a teacher is to take on the additional counselling responsibility he or she must have an adjustment in his class and extra-curricular loads to make room for it <#/>He needs time to decide what phases of the guidance programme are to have priority <#/>He needs time to organise his pattern of work <#/>He needs time for discussing with the headmaster and for establishing staff relationships
<$B> <#/>And that is all in preparation for the actual programme itself <#/>Meeting with the students in groups and individually is the heart of the guidance and counselling programme <#/>And time for it must be recognised in the school timetable <#/>This is a very critical point <#/>The point at which many proposed guidance and counselling programmes fail and eventually die <#/>The Ministry of Education the chief inspector of schools the headmaster and the staff may all believe in the guidance and counselling programme but they must believe it is fully as important as the required classes in English science or agriculture <#/>They must plan time for it in the school timetable just as they do for the required subjects <#/>I repeat <#/>The failure of the school system to plan time for guidance and counselling means the failure of this vital programme
<$A> <#/>Be with us next week when we will talk about organising a guidance and counselling programme
 
</I>
S2B078K
<I> 
<$A> <#/>We present an introduction to East African Poetry by Jonathon Karere and <?/>Alan Kitonga <#/>This programme is for forms three and four  
<$B> <#/>Yet Another Song  <#/>Yet another song I have to sing <#/>In the early wake of a colonial dark I sang the song of fire <#/>The church doors opened to the clang of new anthems and colours of banners <#/>Like the Beatles the evangelical hymns of conversion rocked the world and me I knelt before the new totems and helped to raise watered them with tears of ecstasy <#/>They grew taller than life grimacing and breathing fire <#/>Today I sing yet another song a song of exile  
<$A> <#/>This is the first of the eight programmes on an introduction to East African Poetry by Jonathon Karere and <?/>Alan Kitonga <#/>In our first two programmes we shall try to give you a general reference to the terminology used in poetic analysis by giving you a simple guide to prosody <#/>Prosody is the study of the technical and formal aspects of poetry such as metre rhyme rhythm verse and so on <#/>This prosody section will give you a sufficient understanding of the nature and variety of poetry <#/>It will also give you some reasonable means for reading poetry with appreciative understanding and a few primary ideas of how to evaluate poetry <#/>We shall also try to introduce to you some elements of poetry putting the emphasis always on how and why <#/>For example how does a general understanding of these elements help the reader to appreciate fully the meaning of a particular poem to interpret it correctly and respond to it adequately <#/>Why does the poet use these elements <#/>What values have they for the poet and the reader <#/>It is our assumption therefore that our first two programmes will give the students beginning poetry something they can understand and use in their poetry lessons  
<$B> <#/>Poetry like any language is used all over the world as a means of communication <#/>As a means of communication poetry has no limit <#/>It has been used by both the most primitive and the most advanced and civilised peoples of the world <#/>It is therefore not quite right to think that poetry is only read and studied in schools only <#/>Poetry has appealed to the educated the intelligent and the sensitive people as well as to the uneducated and above all to the children <#/>You may ask yourself why is it that poetry appeals to nearly all sorts of people <#/>The answer is simple <#/>Firstly poetry gives pleasure <#/>People have read it or listened to it or recited it because they liked it and it gave them enjoyment 
<$C> <#/>Secondly poetry has been regarded as something central to each man's existence something giving unique value to the fully realised life something that one is better off for having and spiritually impoverished without <#/>Having said that much can you attempt a definition of poetry <#/>What is poetry <#/>Poetry can be defined as a way of using language not only to say more but also to say it more intensely than in the ordinary way <#/>The difference between ordinary language and poetry is very simple to understand <#/>Ordinary language is used to communicate in the practical sense <#/>For example we can say that it is raining outside because we can see it or hear it or even feel it but the language of literature as found in poems plays and novels tries to communicate human experience in a significant and striking way <#/>This is so because it is carefully and deliberately concentrated and organised <#/>Thus the function of literature is not to tell us about experience but to allow us imaginatively to participate in it by means of broadening or deepening our experience 
<$A> <#/>Suppose the word flywhisk was not familiar to you and that you wanted to find its meaning a good dictionary would give you this definition about a flywhisk 
<$B> <#/>A device that consists of a bundle of flexible fibres mounted in a handle that is used primarily to brush away flies and that has often served as a symbol of high position or authority 
<$A> <#/>Unless you are only interested in this information for your academic purposes you would miss the real meaning of the word flywhisk <#/>It is true that a flywhisk is used to drive away flies and as a symbol of power <#/>But the definition does not give us the significant effects and experience of using a flywhisk <#/>Compare and contrast the above definition about a flywhisk with John Ruganda's poem The Flywhisk on page sixty one 
<$B> <#/>The Flywhisk Fling it sharply and growl <#/>Rebels hide their heads <#/>Wave it gently and smile <#/>Flies flit from pus-drooping eyes <#/>Sling it on the arm finally <#/>Empty stomachs will drum for you 
<$A> <#/>Notice the three different ways of using a flywhisk giving three different ways of satisfaction fling it wave it and sling it <#/>Giving the effects of command respect and assurance respectively <#/>In this poem John Ruganda not only tells us what a flywhisk is and its uses but also invites us to experience the significance of using the flywhisk in different ways giving us different effects <#/>By the end of the poem we not only know the meaning of the flywhisk but also our experience on its uses and its effects have been broadened 
<$C> <#/>Poetry deals with the whole life and not part of it <#/>Its primary concern is not with beauty or philosophical truth or with persuasion but with experience <#/>Beauty and philosophical truth are aspects of experience and the poet is often engaged with them <#/>The experience might be beautiful or ugly strange or common noble or ignoble actual or imaginary <#/>What might be painful in real life might be enjoyable in poetry <#/>Therefore the reader of poetry must involve not only his intelligence but also his senses emotions and imagination 
<$A> <#/>Poetry unlike ordinary language achieves its extra dimensions in communication by drawing more fully and more consistently on a number of language resources <#/>Some of these resources include the following connotation connotation imagery imagery metaphor metaphor rhythm rhythm and pattern pattern <#/>By using these resources and the materials of life the poet is capable of shaping and making his poem 
<$B> <#/>This brings us to the art of reading a poem to understand and appreciate it <#/>Here are a few hints <#/>Number one Read a poem more than once so as to understand its full meaning <#/>Do not expect to understand or appreciate a poem after a first reading <#/>Number two Keep a good dictionary by you and use it to find out the meaning of words and expressions you are not familiar with <#/>But this should be done only after you have read the poem right through carefully <#/>Number three It is often helpful to read poetry aloud <#/>Poetry is written to be heard <#/>Its meanings are conveyed through sound as well as through print <#/>Every word is therefore important <#/>Poems should be read as slowly as possible <#/>Number four Always pay careful attention to what the poem is saying <#/>One should make the utmost effort to follow the thought continuously and to grasp the full implications and suggestions <#/>Lastly be alert to the effects a poet may wish to create by use of repetition of the sound 
<$B> <#/>To aid us in the understanding of a poem we may ask ourselves a number of questions about it <#/>One Who is the speaker <#/>It is wrong to assume that the speaker is the poet himself <#/>You would be safe to assume that the speaker is someone other than the poet himself <#/>Number two What is the occasion <#/>Number three What is the central purpose of the poem <#/>The purpose of the poem may be to tell a story to reveal human character to impart a vivid impression of a scene to express a mood or an emotion or to convey to us vividly some idea or attitude <#/>Whatever the purpose is we must determine it for ourselves and define it mentally as precisely as possible <#/>And lastly once we have known the central purpose of the poem we next consider the question by what means is the purpose achieved 
<$C> <#/>Let us try to apply the above four questions to <?/>Kariara's poem Grass Will Grow on page ninety six 
<$B> <#/>Grass will grow <#/>If you should take my child Lord give my hands strength to dig his grave cover him with earth <#/>Lord send a little rain for grass will grow <#/>If my house should burn down so that the ashes sting the nostrils making the eyes weep then lord send a little rain for grass will grow <#/>But Lord do not send me madness <#/>I ask for tears <#/>Do not send me moon-hard madness to lodge snug in my scull <#/>I would you send me hordes of horses galloping crushing but do not break the yolk of the moon on me 
<$C> <#/>In this poem the speaker is a father who is also head of his household <#/>The occasion is his moment of prayer to his god <#/>During this occasion he considers the possibility of a number of things happening to him like death of his child his house burning down <#/>Consequently he demands to be given strength to bury his child that the rain may fall to enable a new growth of grass <#/>We know that the speaker is talking to God because of his calm and resigned tone 
<$A> <#/>The central purpose of the poem is quite clear <#/>The speaker prefers loss and suffering to madness which portrays the speaker's emotions 
<$B> <#/>But Lord do not send me madness <#/>I ask for tears <#/>Do not send me moon-hard madness 
<$A> <#/>The speaker would rather have his child dying or his house burning down because he would sooner or later forget and start afresh for grass will grow than getting madness that would lodge snug in his scull 
<$C> <#/>The final question by what means is a purpose of the poem achieved is partially answered by describing the poem's framework <#/>The rest requires an accounting of various resources of communication as seen in <?/>Kariara's poem Grass Will Grow <#/>The purpose of the poem is achieved by dramatic possibilities of the speaker's losses at the beginning of the first and the second stanzas <#/>In the final stanza the speaker uses natural images moon-hard madness and the yolk of the moon which represents the insanity he doesn't want <#/>Suffering is represented by natural images such as hordes of horses galloping or even crushing 
<$A> <#/>Finally we shall give you a list of questions that you may apply to any poem in the course of your study in poetry <#/>We have listed down  twelve and I'll start from the first <#/>Number one Who is the speaker <#/>What kind of person is he <#/>Number two To whom is he speaking <#/>What kind of person is he <#/>Number three What is the occasion <#/>Number four What is the setting in time and place time and place <#/>Number five What is the central purpose of the poem <#/>Number six What is the tone of the poem tone of the poem and how is it achieved <#/>Number seven Discuss the imagery of the poem <#/>What kind of imagery is used <#/>Number eight Point out examples of a metaphor simile personification and explain their appropriateness metaphor simile personification and explain their appropriateness <#/>Number nine Point out and explain any symbols symbols <#/>Number ten Point out and explain examples of paradox overstatement understatement and irony <#/>What is their function <#/>Eleven Point out significant examples of sound repetition and explain their function <#/>Lastly with these points considered you may be in a position to appreciate and evaluate a poem but above all be able to really enjoy it  
<$A> <#/>In this programme we discussed what is poetry and the art of reading a poem to understand and appreciate it <#/>Next week we shall discuss the elements of poetry <#/>This programme was written and produced by <name/> and recorded by <name/>  
</I>
S2B079K
<I> 
<$A> <#/>We present professional studies for untrained teachers <#/>Today we ask What is child-centred education  <#/>In our last programme we talked about traditional education <#/>We said that traditional education was geared to preparing a child for life in his own community <#/>The activities for the child were carefully selected <#/>In our programme today we are going to examine ideas that have developed over many years on child-centred education
<$B> <#/>On this programme we shall learn one what child-centred education is two the role of the teacher in child-centred learning and three the kind of activities you can organise in your class to make it child-centred 
<$A> <#/>Child-centred education may be best defined as a realistic response to what we know about children their development interests and characteristics 
<$B> <#/>Child-centred education developed from the ideas put forward by educational philosophers and psychologists who realised that children develop at different rates physically mentally emotionally and socially for example the physical skill and co-ordination necessary to write legibly is attained by some children at the age of four but not by others until the age of eight
<$A> <#/>You already know that children are not simply little adults and that they progress through various stages of development as they grow up <#/>You also know that the characteristics they display change during the process of growing up so do their interests and the forces that motivate them <#/>Child-centred education therefore attempts to satisfy these needs and assists children who are undergoing these changes 
<$B> <#/>Furthermore child-centred education or learning tries to acknowledge that children's needs should determine what is learnt at school <#/>This does not mean however that children control what goes on in the school <#/>It means that you and the children in your class are like partners <#/>You the teacher play the role of the class leader <#/>You've come to appreciate that every child is an individual developing at his own rate and differing in needs abilities interests cultural influence and behaviour <#/>These differences must therefore be taken into account when deciding on teaching methods activities and evaluative techniques
<$A> <#/>Child-centred education or child-centred learning tries to recognise and respond to the changing characteristics that distinguish children of different ages <#/>This is a reason why we organise activity lessons in the lower primary classes and discovery lessons in the upper primary classes <#/>Again teachers think of the different exercises that are done in physical education lessons in standard two <#/>Are they the same for a standard seven child <#/>No they are not and once again the reason is that as children grow and develop their interests and abilities change
<$B> <#/>Child-centred education also tries to select what is taught and the methods used so that they are appropriate to the understanding and experiences of the children <#/>The entire idea of curriculum development accounts for these <#/>For example in mathematics you cannot teach children how to multiply before you have told them how to add <#/>Likewise you cannot teach them how to read before they have acquired a working or <?/>sight vocabulary 
<$A> <#/>In addition to teaching children what is appropriate to the understanding and experience child-centred education or learning trains children in skills that are within the capabilities of their stage of development <#/>For example the basic skills of reading and writing are learnt in contexts which are meaningful to the children instead of learning the rules of number by memorisation like the multiplication tables they do so by perhaps having a market in the classroom were prices for goods are displayed quantities are weighed costs are calculated money is paid and change is given <#/>This is learning by doing 
<$B> <#/>In these ways teachers children have plenty of opportunities for creative work and self-expression <#/>Moreover each child is actively involved in his own learning <#/>Child-centred education fosters a sense of responsibility in each child by enabling the child to learn how to act as a leader and make decisions
<$A> <#/>Teachers I now want to describe a classroom where child-centred learning or education is taking place <#/>First of all the classroom should be a relaxed and happy place where there is plenty <./>oc opportunity for learning <#/>There are should be many interesting learning areas in the classroom for example projects displays science or nature areas discovery tables book corners or library areas activity areas such as the market or shop and creativity corners
<$B> <#/>As you have just heard the classroom is a place where children eagerly look forward to coming to one <#/>You need to take the role of leader in the class by providing all of these different learning opportunities and two you need to have a large pool of local resources and materials readily available at all times <#/>This means that once you have a nature table in your classroom you should maintain it regularly by changing the items on it frequently to reflect what you are teaching 
<$A> <#/>In the child-centred classroom you will also notice that there are a lot of playthings for children and that they have a good deal of choice over what they do at any particular time though this does not mean children do as they please <#/>They are free however to move around the classroom if they need too <#/>You may find some children are working quietly on their own <-/alternativity> while others are working together in a group on something different <#/>No one is bored <#/>Everyone is involved in his own learning 
<$B> <#/>Some are telling other groups of children about something they have just discovered or explaining a difficult problem in an assignment <#/>Some may be writing about things they have seen while others are painting pictures or making models <#/>Yet others may be taking care of the class or cleaning and changing the nature corner 
<$A> <#/>From the description of a child-centred learning classroom you can see teachers that learning is taking place all the time some of it directly from the teacher or through the activities and some of it indirectly from the classrooms surroundings <#/>Children do not have to wait for you to attend to them nor do they have to sit still if they finish their work before their friends for there are so many other things for them to do 
<$B> <#/>Let us now think about how you organise a child-centred learning situation and what your role in such a learning situation is <#/>First of all teachers you need to be flexible and accept the fact that children learn best and are happy when they are actively involved in their own learning <#/>This simple means that you should not expect children to sit at their desks hour after hour being taught <#/>You should expect them to be involved in learning activity in one of the learning areas in the classroom and then move on to another learning activity 
<$A> <#/>You will therefore need to arrange your classroom in a way which can accommodate children to move freely without disrupting or disturbing other children 
<$B> <#/>In organising a child-centred learning situation or classroom you also need to have a flexible timetable One each child can develop his own interests at his own rate of progress Two you teach skill subjects such as reading number work history science geography and others and three you organise socially stimulating learning experiences such as story telling music drama and physical education 
<$A> <#/>One other very important learning experience which you can organise in your class is the activity programme <#/>The activity programme is the core of child-centred learning <#/>Remember teachers a child learns best by doing and finds interest and enjoyment in activity <#/>Therefore a child must be given every opportunity to discover explore and find out for himself by touching feeling and handling a variety of objects 
<$B> <#/>The activity programme makes use of all the senses <#/>The more senses that are used in acquiring learning the deeper the impression that is made on the mind of the learner and the more certain we are that the learning will be retained <#/>Here are some activities you can organise for children at different stages in the primary school <#/>Listen carefully to them and decide which ones are appropriate for the children in your class 
<$A> <#/>Thinking  listening  touching  watching  discussing  playing  reading  drawing  writing  exploring  experimenting  collecting  sorting  and classifying  
<$B> <#/>Teachers every one of the activities just mentioned can be used in a child-centred learning situation <#/>At the end of this programme you should prepare a list of activities you can use in your classroom 
<$A> <#/>Let's recall here teachers that activity ensures learning through doing and that a child learns best when he is actively involved in his own learning <#/>Furthermore pupil activity does the following one adds interest and enjoyment to a lesson and does away with passivity and boredom two reinforces and revises what is being taught three helps to develop a good pupil teacher relationship four encourages initiative creativity and curiosity and five develops or improves basic skills such as reading writing number work and others
<$B> <#/>Teachers there are two very essential points to keep in mind if the activity programme and indeed child-centred learning is to be successful <#/>These are first class discipline <#/>Child-centred learning does not mean allowing children total freedom <#/>>This would lead to chaos and a breakdown of class discipline<#/>This would result in little or no learning taking place <#/>It is extremely important for you to maintain class control at all times by telling children what is expected of them and how they should behave in the class <#/>This will help the child to become honest to himself polite obedient and attentive <#/>It will also help him to be responsible to himself and others as well as teaching him to work on his own or with others 
<$A> <#/>The second point you need to keep in mind if child-centred learning is to be successful is the fact that you must know every child in your class as an individuum <#/>This means you must know his strengths and weaknesses his likes and dislikes and his abilities and interests <#/>By knowing all this information about each child you can plan and supervise suitable learning experiences for your class 
<$B> <#/>Teachers let us summarise the main points of today's programme on child-centred education or child-centred learning Child-centred education is defined as a realistic response to what we know about children their development interests and characteristics 
<$A> <#/>Secondly teachers we briefly describe a classroom where child-centred learning takes place Such a classroom has a relaxed to friendly atmosphere where there is more pupil activity than teacher activity There is also a tremendous variety of activity taking place at any one time 
<$B> <#/>Thirdly teachers you heard how you can organise child-centred learning in your classroom This means being flexible both in terms of classroom arrangement and time-tabling This will enable you to develop a strong and varied activity programme 
<$A> <#/>Last but not least you heard how a good or successful teacher must know each child in his class as an individual and must be able to be maintain good class discipline if child centred learning is to be successful 
<$B> <#/>Teachers that is all for today <#/>In our next programme we shall hear about some of the educational philosophers who contributed to the ideas of child-centred education <#/>This programme was written by <name/> and produced by <name/> for educational media service Kenya Institute of Education <#/>Until next time good day teachers 
</I>
<I>
<$A> <#/>We present professional studies for untrained teachers  <#/>Our radio lesson today is about child-centred education and some of the most famous educational philosophers who contributed to the ideas of child-centred education <#/>Today we shall discuss ideas of Plato Comenius Rousseau and Pestalozzi and how these ideas are applicable to our education today 
<$B> <#/>Before we introduce you to some of these famous men let us fast recall what you heard in our previous lesson about child-centred education <#/>Child-centred education was defined as a realistic response to what we know about children their development interests and characteristics 
<$C> <#/>Secondly teachers a classroom where child-centred methods are used was described <#/>You can remember that this meant having many and varied activities in the class different learning areas and plenty of locally made materials and resources for children to use 
 
</I>
S2B080K
<I>
<$A> <#/>We present an introduction to East African Poetry by Jonathon Karere and <?/>Alan Kitonga <#/>This programme is for forms three and four 
 <$A> <#/>This is the second of the eight programmes on an introduction to East African Poetry by Jonathon Karere and <?/>Alan Kitonga <#/>Before we introduce today’s topic we shall first of all revise what we discussed last week <#/>In our last programme we said One Poetry appeals to all sorts of people because it gives them pleasure and enjoyment Two Poetry differs from ordinary language in that unlike ordinary language that communicates practical experience poetry communicates significant experience which is concentrated and organised <#/>We also suggested some hints to you that can be applied to any poem so as to help you understand and appreciate the poem  <#/>This week we shall discuss the elements of poetry <#/>In this programme we shall try to discuss some primary poetic elements that give problems to some students <#/>I feel these elements include the following One What use in literary setting or denotations and connotations of words What use in literary setting or denotations and connotations of words Two Imagery Imagery and three Figurative language Figurative language 
<$B> <#/>Let us start our discussion by examining word use in poetry <#/>You should realise that a poet does not choose his words aimlessly <#/>A good poet chooses his words with great care and you should be alert to notice their full significance <#/>In poetry the average word has three component parts <#/>These are One Sound Sound Two Denotations Denotations Three Connotations Connotations <#/>The literal dictionary meaning of a word is its denotation <#/>The connotation of a word is what the word suggests beyond what it expresses its overtones of meaning 
<$C> <#/>For example the word home by denotation means a place where one lives but by connotation the word home suggests security love comfort and family <#/>Your first problem in reading poetry is to try to develop a sense of language and a feeling for words <#/>This can only be overcome by extensive use of the dictionary and extensive reading <#/>In <?/>Kariara's poem Grass Will Grow the speaker asks for tears which by connotation means weeping mourning suffering loss sadness grief and so on instead of being given madness which according to him is a more severe punishment as compared to tears 
<$A> <#/>Another important tool of uh poetry is imagery <#/>Imagery may be defined as the representation through language of sense experience <#/>Poetry appeals directly to our senses though of course its music and rhythm does the same too and this is what actually what we hear when it is read aloud <#/>But indirectly poetry appeals to our senses through imagery which is the representation to the imagination of sense experience <#/>When we speak of an image we normally think of a mental picture which is in our mind’s eye <#/>This visual imagery is common in poetry <#/>You must note that an image may also represent a sound a smell a taste a tactile experience for example like hardness wetness or cold <#/>An image may also represent any internal sensation such as hunger thirst or nausea or movement or tension in the muscles or joints 
<$C> <#/>Jonathan <?/>Kariara's poem The Boat is about death <#/>The speaker laments the death of a very important and a powerful member of parliament <#/>Due to the death of this minister the speaker seems to be quite helpless lonely and very bitter <#/>He has lost his sense of direction because he has no leader <#/>He seems to have no strength for anything else except to mourn his departed minister <#/>He sees the death of the minister as a bringer of shame and wanton destruction <#/>But the poet does not tell us these things directly <#/>In fact he does not use the word death in his poem <#/>His concern is to communicate experience and not information <#/>He does this by creating images that represent death and sorrow <#/>The siren of the ambulance creates an image of danger and most likely death in our minds <#/>Cold wind represents death and solitude <#/>Listen to the following conversation of two friends whereby one has just come in out of a rain storm  
<$D> <#/>Oh come in please <#/>You are a pretty sight <#/>Got slightly wet did you 
<$E> <#/><-/>Ah wet I’m drowned <#/>It's raining cats and dogs outside and my raincoat’s just like a sieve 
<$C> <#/>It is likely that the two friends understand each other pretty well but if you examine their conversation literally that is to say unimaginatively you will find that they have been speaking nonsense <#/>Actually they have been speaking figuratively <#/>They have been saying less than what they mean or more than what they mean or the opposite of what they mean or something else other than what they actually mean <#/>By using figures of speech we can say what we want to say more vividly and forcefully than saying it directly <#/>A figure of speech can simply be defined as a way of saying one thing and meaning another 
<$A> <#/>The commonly used figures of speech include the following metaphor personification symbol overstatement understatement and irony <#/>We shall give you a brief definition and examples of each of the figures of speech mentioned earlier <#/>To begin with metaphor and simile <#/>These are comparisons between things which are unlike <#/>The only distinction is that in simile the comparison is expressed that is stated by the use of some word or phrase such as like as than similar to or resembles <#/>For example <?/>Barak Omondi’s poem Luo Dancer on page eleven opens with a comparison of the onlooker to an opium addict <#/>It goes Like an opium addict you watch her red-eyed <#/>In the last stanza the poet uses another striking simile to show the onlooker's inability to act by comparing him to a castrated bull <#/>The line goes as follows Like a castrated bull you stare at her and her man <#/>In metaphor the comparison is implied that is the figurative term is substituted for or identified with the literal term <#/>For example when Okoth Ogendo in his poem The Dancing Maniac the fifth stanza on page thirteen writes that I will let loose this caged spirit upon you he is using a metaphor for he identifies his caged spirit which gives animal-like qualities with his great desire for the woman he is inviting for the dance <#/>This brings us to another element of poetry personification <#/>Personification consists of giving the attributes of human being to an animal an object or an idea <#/>Personification is a kind of metaphor an implied comparison in which the figurative term of the comparison is always a human being 
<$C> <#/>For example when Charles <?/>Owore in his poem The Bond on page one hundred and twenty writes he shook hands with loneliness he is personifying the idea of loneliness by giving human qualities to an abstract idea <#/>These human qualities <-_includes><+_include> the shaking of hands <#/>In the same poem the poet is using fire symbolically <#/>He writes 
<$A> <#/>The Bond He shook hands with the loneliness who invited him to sit beside a fire and warm his hands <#/>Together they recounted tales of a love left behind exchanged cups of tears and sadly smiled at each other’s faces as the flames linked them each to each 
<$C> <#/>Probably he sat beside a fire not only to warm his hands but also to comfort himself or to console himself or to help him forget a love left behind <#/>A symbol may be roughly defined as something that means more than what it is <#/>Symbols vary in the degree of identification and definition that the authors give them <#/>Although the poet may pin down the meaning of his symbol to something fairly definite and precise more often the symbol is so general in its meaning that it is able to suggest a great variety of more specific meanings <#/>For example a flag represents a nation a Mercedes Benz is a sign or symbol of power or wealth 
<$A> <#/>Other commonly used figures of speech include the following One Overstatement And two Understatement and irony <#/>Overstatement means saying more of what one really means <#/>For example if you say I will die if I don't pass my literature paper in the forthcoming examination you don't expect the people to believe you <#/>You are merely adding emphasis to what you really mean <#/>When Charles <?/>Owore in his poem Your Cigarette Burnt The Savannah Grass on page one hundred and eighteen writes 
<$B> <#/>Come listen to a boiling pot touch its heart and tell me what do you hear <#/>The sun sent down showers of heat that burned to cinder your <?/>edding conscience the earth at the touch of your fingers cracked <#/>Colour melts at your stare <#/>Orange white blue <O/> and all are the same to you <#/>Your cigarette burned the savannah grass the scorpion bit me and I cried <#/>The earth at the touch of your fingers cracked 
<$A> <#/>It is obvious that he does not want us to understand him <-_literary><+_literally> because we would not expect the ground to crack open if someone placed their fingers on it 
<$C> <#/>On the other hand understatement or saying less than what one means may exist in what one says or merely in how one says it <#/>For example you commonly hear people inviting others for a bite when the table is actually is laid with different kinds of foods for example <ea/>matoke <ea/>ugali roastmeat and so on <#/>A bite is used when one is stating less than the truth <#/>Also in <?/>Maragoli Wedding Song on page eleven the poet understates the warning to the bride when he writes 
<$B> <#/>To the bride <#/>It is difficult really difficult to leave your home for another place <#/>Refrain to the bridegroom but cultivate cultivate well so that the seeds of our ancestors can continue to bear fruit 
<$C> <#/>The real problem of the bride is not actually leaving her home for the man's home but when she tries to adjust and acquaint herself to her new home and bring it up <#/>Therefore the poet stated less than what he meant <#/>When David Rubadiri in his poem Stanley Meets <?/>Mutesa on page twenty eight writes 
<$A> <#/><ea/><O/> <ea/>karibu White men you are welcome <#/>The gate of polished reeds closes behind them and the West is let in 
<$C> <#/>The poet meant more than what he stated <#/>It wasn't merely letting the West in <#/>The action allowed in all the evils associated with the West for example colonisation exploitation brainwashing just to mention a few 
<$A> <#/>Lastly but not the least we shall discuss irony in poetry <#/>Irony means saying one thing but meaning another <#/>Irony is useful in poetry because it creates humour <#/>A situation can be said to be ironical when the outcome of an event is contrary to what might have been expected <#/>Do not confuse irony which means the opposite of what one means with sarcasm and satire <#/>Sarcasm is a bitter or cutting speech which is intended to wound or hurt the feelings of another while satire is ridicule of human folly or vice in a humorous way <#/>A poet uses satire with the purpose of bringing about reform or at least of keeping other people from falling into similar folly or vice 
<$C> <#/>A very good example of satire in poetry is found in Henry Barlow's poem Building The Nation on page seventy one <#/>The poet wrote this poem to satirise those people in positions of authority who say all the right things but fail to practise what they preach <#/>In public they appear to be very busy but actually doing nothing <#/>Examples of sarcasm can be found in <name/> poems For Miriam on pages thirty nine <I/>