“Bahasha ya Ocampo”: A theological and semiological reading of judgement in the music of Juliani

Abstract

The purpose of this article is to illustrate how Julius Owino (Juliani) has defied silence as an East African Gospel musician and used his artistic career to fight for justice. The article also demonstrates how Christian music can be used for social activism and the bridging of the sacred and the secular through the advancement of sonic activism. Music is a powerful agent for social, political, educational, therapeutic and religious transformation. The study employs the qualitative method by specifically reading the song "Bahasha ya Ocampo" by Juliani as a discourse in sonic activism, particularly emphasising the theological and semiotic portrait of “judgment” in the song. Juliani uses this song to warn that God’s judgement is more severe than that of I.C.C. Prosecutor Jose Moreno-Ocampo. Drawing from the success of musicians like Bob Marley, Mahalia Jackson, Garth Hewitt, Eric Wainaina, Oliver Mtukudzi, Fela Kuti, Thomas Maphumo and Miriam Makeba, among others who have successfully leveraged music to crusade for human rights and social justice, the study argues for the potentiality of such music in the Christian Gospel mission. This article also defends the potentiality of positive social impact given that Harry Belafonte, Michael Jackson and Lionel Richie brought nearly fifty musicians together in 1985 to record the song We Are the World, which raised millions of dollars for poverty intervention in Africa. The discussion gives us a panoramic view of Juliani as a justice advocate, elaborates on "judgment" as a theological term and then embarks on a semiological reading of the song.