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The University of Dodoma
University of Dodoma Institutional Repository http://repository.udom.ac.tz
Humanities Master Dissertations
2018
Gogo fairy tales as communicative genres
Suleiman, Salama Rashid
The University of Dodoma
Suleiman, S. R., (2018). Gogo fairy tales as communicative genres. Dodoma: The University of Dodoma
http://hdl.handle.net/20.500.12661/1397
Downloaded from UDOM Institutional Repository at The University of Dodoma, an open access institutional repository.
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GOGO FAIRY TALES AS COMMUNICATIVE GENRES
SALAMA RASHID SULEIMAN
MASTERS OF ARTS IN LINGUISTICS
THE UNIVERSITY OF DODOMA
OCTOBER, 2018
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GOGO FAIRY TALES AS COMMUNICATIVE GENRES
BY
SALAMA RASHID SULEIMAN
A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF
THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS
IN LINGUISTICS
THE UNIVERSITY OF DODOMA
OCTOBER, 2018
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DECLARATION
AND
COPYRIGHT
I, Salama Rashid Suleiman, declare that this dissertation is my own original work
and that it has not been presented and will not be presented to any other university
for similar or any other degree award.
Signature………………
No part of this dissertation may be produced, stored in any retrieval system or
transmitted in any form or by any means without prior written permission of the
author or the University of Dodoma. If transformed for publication in any other
format shall be acknowledged that, this work has been submitted for degree award at
the University of Dodoma”.
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CERTIFICATION
The undersigned certifies that he has read and hereby recommends for acceptance by
the University of Dodoma, a Dissertation entitled The Gogo Fairy Tales as
Communicative Genres, in partial fulfilment of the requirements for the Degree of
Master of Arts in Linguistics of the University of Dodoma.
…………………………………………….
Dr. Stanislav Beletskiy
(SUPERVISOR)
Date:…………………………….
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ACKNOWLEDGEMENTS
The accomplishment of this study is the result of the supervision and assistance I
received from numerous people. First of all, I would like to explain my sincere
gratitude to the Almighty God for His abundant grace that enabled me to do this
study.
Further, my appreciation and grateful thanks go to my Supervisor, Dr. Stanislav
Beletskiy, for his guidance, constant supervision, valuable advice and clarification
during all stages of doing this work. His patience, constructive ideas and motivation
helped me to complete this dissertation.
Moreover, I would like to express my gratitude to my informants. These are
residents of the village of Hombolo and the leader of the village.
I should also thank Dr. Sane, my lecturer and adviser, during the course of
conducting this research. He has instilled in me the basic knowledge and skills on
how to conduct research in languages. He put, in my mind, the valuable foundation
in conducting research.I would also like to send my heartful thanks to my
colleagues, particularly Mr. Hashir M. Hashir, Mr. Rashid Suleiman Mohd and Mr.
Hilal Abdul-malik for their constructive comments and ideas on this study. I express
my sincere gratitude to my beloved colleagues, for their devoted and faithfully
hearts of encouragement during my studies. May our Almighty God bless them!
Finally, my special appreciation goes to my lovely husband, Muhammed H. Swaleh,
my son, Suleiman Omar Suleiman, and my daughter, Murshayna Muhammed, for
their moral support and for shouldering the most of the home responsibilities during
my absence. May Almighty God bless them!
DEDICATION
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I dedicate this work to my beloved sisters and brothers, Saada Juma Said, Maryam
Rashid Suleiman, Asha Rashid Suleiman, Ghaniya Rashid Suleiman, Amour Rashid
Suleiman, Salum Rashid Suleiman, and Massoud Rashid Suleiman, who paid much
attention for me during my school time, and my beloved husband and children who
built a bridge for my success in education.
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ABSTRACT
This study report has shown the findings of the study of the Gogo fairy tales in Gogo
community of Dodoma Region. In particular, the study makes a description and
analysis of the linguistic practices and language used in Gogo fairy tales. In doing
so, the study collected the fairy tales of Gogo community, and creates a data base of
Gogo fairy tales drawing extensively from the theory of communicative genres that
helped in the analysis of the linguistic and structural communicative features of
Gogo fairy tales.
Using qualitative research approach, data were generated through interviews,
observations, focused group discussions, and audio visual recording. 10 informants
(i.e. 2 males and 8 females) were purposively sampled from Hombolo Village in
Dodoma Urban to inform the research. The analysis of the data obtained revealed
that the Gogo fairy tales are rich in linguistic and structural features. These are
marked by linguistic structures, like turn-taking, stress, intonation, pitch,
overlapping, interactional unit, silence, pauses, strengthening, aspiration, latching,
and other parentheses. Other features recognised in Gogo fairy tales are the initiation
rituals, the use of songs, feedback, non verbal features and other vocalizations,
which are all used to make the completion of the act of narrating the stories.
Further, the study has discovered that the Gogo people have used fairy tales as a tool
to create and control morals and customs of their future generations. Generally, the
study provides information useful for developing a new understanding of Gogo fairy
tales as communicative genre in the field of linguistics. In the end, the study
recommends that there is a need of documentation and description of the
communicative genres that circulate within societies through their local languages.
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TABLE OF CONTENTS
DECLARATION AND COPYRIGHT ........................................................................ i
CERTIFICATION ...................................................................................................... ii
ACKNOWLEDGEMENTS ....................................................................................... iii
DEDICATION ........................................................................................................... iii
ABSTRACT ................................................................................................................ v
TABLE OF CONTENTS ........................................................................................... vi
LIST OF TABLES ..................................................................................................... xi
LIST OF FIGURES .................................................................................................. xii
LIST OF APPENDICES .......................................................................................... xiii
LIST OF ABBREVIATIONS .................................................................................. xiv
CHAPTER ONE ....................................................................................................... 1
INTRODUCTION AND BACKGROUND TO THE STUDY .................................. 1
1.1 Introduction ........................................................................................................... 1
1.2 Gogo Language: A Brief Overview ...................................................................... 1
1.2.1 Geographical Location ....................................................................................... 1
1.2.2 Linguistic Classification .................................................................................... 3
1.2.3 Dialects in Gogo Language ................................................................................ 4
1.2.4 Structural Features ............................................................................................. 5
1.2.5 Orthography ....................................................................................................... 5
1.2.6 Vowels and Tones .............................................................................................. 7
1.2.7 Consonants ......................................................................................................... 8
1.2.8 Syllable Structure and Phonetic Changes ........................................................ 10
1.2.9 Nominal Morphology ....................................................................................... 13
1.2.10 Verbal Morphology ........................................................................................ 18
1.3 Statement of the Problem .................................................................................... 25
1.4 Objectives of the Study ....................................................................................... 26
1.5 Research Questions ............................................................................................. 27
1.6 Significance of the Problem ................................................................................ 27
1.7 Scope of the Study .............................................................................................. 28
1.8 Limitations of the Study ...................................................................................... 29
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1.9 Concluding Remarks ........................................................................................... 29
CHAPTER TWO .................................................................................................... 31
LITERATURE REVIEW AND THEORETICAL FRAMEWORK ........................ 31
2.1 Introduction ......................................................................................................... 31
2.2 Literature Review ................................................................................................ 31
2.2.1 The Concept; Meaning and the Importance of Fairy Tales.............................. 31
2.2.2 Fairy Tales as Folklore Genre .......................................................................... 34
2.2.3 Fairy Tales as Literary Genre ........................................................................... 36
2.2.4 Fairy Tales as an Object of Linguistic Study ................................................... 39
2.2.5 Concept Terms ................................................................................................. 51
2.2.6 Theoretical Framework .................................................................................... 53
2.2.6.1 Introduction ................................................................................................... 53
2.2.6.2 The Theory of Communicative Genres ......................................................... 54
2.2.6.3 The Theory of Conversational Analysis ....................................................... 61
2.2.7 Concluding Remarks ........................................................................................ 64
CHAPTER THREE ............................................................................................... 65
RESEARCH METHODOLOGY .............................................................................. 65
3.1 Introduction ......................................................................................................... 65
3.2 Research Design .................................................................................................. 65
3.3 Area of the Study ................................................................................................ 66
3.4 Sample Size and Sample Procedures .................................................................. 68
3.4.1 Purposive Sampling ......................................................................................... 69
3.4.2 Research Instruments ....................................................................................... 69
3.5 Techniques and Methods of Data Collection ...................................................... 70
3.5.1 Primary Data .................................................................................................... 70
3.5.1.1 Interviews ...................................................................................................... 70
3.5.1.2 Focused Group Discussion (FGDs) .............................................................. 71
3.5.1.3 Observations .................................................................................................. 72
3.5.1.4 Audio Visual Recording ................................................................................ 72
3.5.2 Secondary Data ................................................................................................ 72
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3.5.3 Data Analysis Procedures ................................................................................ 73
3.5.4 Concluding Remarks ........................................................................................ 74
CHAPTER FOUR ................................................................................................... 75
DATA PRESENTATION, ANALYSIS AND DISCUSSION ................................. 75
4.1 Introduction ......................................................................................................... 75
4.2 Data Presentation ................................................................................................ 76
4.3 Characteristics of Gogo Fairy Tales as Folklore Genre ...................................... 77
4.4 Data Presentation and Analysis ........................................................................... 79
4.4.1 The Internal Structure of Gogo Fairy Tales ..................................................... 80
4.4.1.1 Verbal, Prosodic and Kinetic Features .......................................................... 80
4.4.1.1.1 Patterns of Raising and Falling Utterances ................................................ 83
4.4.1.1.2 Melodies of Speech .................................................................................... 84
4.4.1.1.3 Repetition Markers ..................................................................................... 85
4.4.1.1.4 The Expressive Signs and Gestilatory Elements ........................................ 87
4.4.1.1.5 Lexico Semantic Elements ......................................................................... 89
4.4.1.1.6 The Morpho-syntactic Devices .................................................................. 90
4.4.1.1.7 Melodic Contours ....................................................................................... 91
4.4.1.2 Situative Level of Gogo Fairy Tales ............................................................. 92
4.4.1.2.1 The Interactive Features ............................................................................. 92
4.4.1.2.2 Interactive Modality Phones ...................................................................... 94
4.4.1.2.3 Interactional Sequential Markers ............................................................... 95
4.4.1.2.4 The Conversational Elements and Integral Part Patterns ........................... 96
4.4.1.2.5 Non-verbal Communication Flows ............................................................ 98
4.4.1.2.6 The Opened and Closed Markers ............................................................. 100
4.4.1.2.7 Participation Framework and Isomorphic Features ................................. 102
4.4.1.2.8 Non-linguistic and social arrangements ................................................... 103
4.4.1.3 External Structure of Gogo Fairy Tales ...................................................... 104
4.4.1.3.1 Communicative Milieus and Situation ..................................................... 104
4.4.1.3.2 Communicative Actions and Participants‟ Relationship ......................... 105
4.4.2 The Gogo fairy tales analysis with the conversational theory ....................... 115
4.4.2.1 Turn Taking, Silence and Actions ............................................................... 115
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4.4.2.2 Interaction of Openings and Closing Features ............................................ 117
4.4.2.3 The Analysis of Linguistic and Structural Communicative Features in Gogo
Fairy Tales ................................................................................................... 118
4.4.2.3.1 Suprasegmental Features .......................................................................... 119
4.4.2.3.2 Accent, Terminal Pitch and Lengthening Contours ................................. 119
4.4.2.3.3 Stress Symbols ......................................................................................... 121
4.4.2.3.4 Carriage Returns (Intonation Units) ......................................................... 121
4.4.2.3.5 Emphasis Segments .................................................................................. 123
4.4.2.3.6 Overlapping Codes ................................................................................... 124
4.4.2.3.7 Pauses ....................................................................................................... 125
4.4.2.3.8 Extra Utterances ....................................................................................... 126
4.4.2.3.9 Raising and Lengthening Segements ....................................................... 127
4.4.2.4 Phonetic Symbols and Prosodic Features in Gogo Fairy Tales .................. 128
4.4.2.4.1 Streches Sequences .................................................................................. 128
4.4.2.4.2 Degree Signs ............................................................................................ 128
4.4.2.4.3 Interruption Codes .................................................................................... 129
4.4.2.4.4 Aspiration Signs ....................................................................................... 130
4.4.2.4.5 Unclear Phrases and Doubts Signs ........................................................... 131
4.4.2.4.6 Other Parentheses ..................................................................................... 132
4.4.2.4.7 Pitch Signs ................................................................................................ 133
4.4.2.4.8 Non Linguistic (Structural) Features that Existed in Gogo Fairy Tales... 135
4.4.2.4.9 Initiation and Pre-telling Fragments ........................................................ 135
4.4.2.4.10 Song ....................................................................................................... 136
4.4.2.4.11 The Audience‟s Feed-back Channelling Unit ........................................ 137
4.4.2.4.12 The Existence of Variation in Performance ........................................... 138
4.4.2.4.13 Interacting Closing Remarks .................................................................. 139
4.5 Concluding Remarks ......................................................................................... 139
CHAPTER FIVE ................................................................................................... 141
SUMMARY, CONCLUSION AND RECOMMENDATIONS ............................. 141
5.1 Introduction ....................................................................................................... 141
5.2 Summary of the Findings .................................................................................. 141
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5.3 Conclusion and Recommendations ................................................................... 142
REFERENCES ...................................................................................................... 144
APPENDICES ....................................................................................................... 152
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LIST OF TABLES
Table 1. 1: Number of speakers of Gogo language according to various sources ...... 3
Table 1. 2: Gogo Orthography .................................................................................... 6
Table 1. 3: Classification of Gogo vowels .................................................................. 7
Table 1. 4: Classification of Gogo Consonants ........................................................... 9
Table 1. 5: Formation of voiceless nasals in Gogo language ...................................... 9
Table 1. 6: Gogo Noun Class System ....................................................................... 14
Table 1. 7: Structure and Semantics of Demonstratives in Gogo language .............. 17
Table 1. 8: Subject Markers, Personal and Possessive Pronouns in Gogo
language ................................................................................................. 18
Table 1. 9: Order of the Elements in a Verbal Form ................................................. 20
Table 3. 1: The sample of Dodoma Area .................................................................. 69
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LIST OF FIGURES
Figure 3. 1: Administrative Division of Tanzania .................................................... 67
Figure 3. 2: Dodoma Region ..................................................................................... 68
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LIST OF APPENDICES
Appendix 1: Guiding Questions for Interviews ...................................................... 152
Appendix 2: Leading Questions ............................................................................. 154
Appendix 3: Steps in doing Transcription .............................................................. 155
Appendix 4: Diacritics and Structural Features that are Used in Gogo Fairy Tales
Transcriptive Analysis: ...................................................................... 156
Appendix 5: Linguistic Variations from Gogo Language and Standard Swahili
Pronounciation ................................................................................... 163
Appendix 6: The Harmonization of Orthography from the Bantu Languages Specific
in “Gogo Language” Of Tanzania ..................................................... 164
Appendix 7: The Sample of Data ........................................................................... 165
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LIST OF ABBREVIATIONS
1st Pl First person plural
3rd sg Third person singular
APPL Applicative
ASS Associative
AUG Augment
AVR Audio Visual Recording
BVS Basic Verbal Suffix
CAUS Causative
CLT clitics
CP Class Prefix
EXT extensions
FGD FocusedbGroup Discussion
FUT Future tense
FV final vowel
FV Final Vowel
HAB Habitual
I initiator
INF Infinitive
IPA International Phonetic Alphabet
L listener
N narration: (N1=Narration one)
NEG negative marker
NS Noun stem
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OM object marker
PASS Passive
POSS Possessive
PRS Present tense
PST Past tense
REC Reciprocal
REF Reflexive
REFL reflexive marker
ROOT root
SM subject marker
STAT Stative
TAM tense-aspect marker F
TCU‟s Turns Constructions Units
TPHC Tanzania Population Housing Census
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CHAPTER ONE
INTRODUCTION AND BACKGROUND TO THE STUDY
1.1 Introduction
This chapter introduces the Gogo language. In particular, the chapter informs about
the linguistic facts of the Gogo, its classification, its dialects, available publications
and the problem that had not yet been studied and documented. Of course, the gap
that this dissertation bridges as reflected on the research objectives and questions.
The chapter ends by a description of the rationale of the study.
1.2 Gogo Language: A Brief Overview
This part gives a brief survey of Gogo language: its geographical location, dialects
and linguistic features. Previous publications about the language under investigation
are also analysed.
1.2.1 Geographical Location
Gogo language is spoken by the Gogo people (Wagogo) which is a society located
in Dodoma Region. There are also few Gogo located in Manyoni District of Singida
Region. This is to say that the language is predominantly spoken in the Central
Tanzania covering the areas of Mpwapwa, Chamwino, Kongwa, Bahi, and Dodoma
Urban, and also in Manyoni District of Singida Region. The Gogo land in Dodoma
is divided into five (5) parts where the language is used, namely:- the Western part,
Central part, Northern part, Southern part and Eastern (Mnyampala, 1954). The
language is typically Bantu (Mnyampala, 1954).
The name Gogo probably originated in 19th
Century, from Nyamwezi caravans that
crossed through the Region Rigby, 1950 cited in Mnyampala, 1917) states: “From
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one tradition records that the caravans had given the people of the Region because
they used “logs” (Gogo in Swahili) to block the path to water.”
During this time, the communities developed flexible social and productive
strategies designed to make life possible in the arid region. Throughout, that time,
their political authority in the region was Mtemi or Watemi in clan‟s position. As for
the origin of the people, Mnyampala (1954), informs that the origin of Gogo people
were from the presence of the Cushitic – speaking groups. This was the time before
the coming of other Bantu speakers. It was about the early centuries of 500 A.D. He
claimed by saying:
A little direct work has been done on central Tanzania that allow more
precise dating of their spread into what became “Ugogo”... while the
movement of the first Bantu speakers into Region was about 1300
A.D. The presence of Cushitic languages in neighbouring regions and
the association of Gogo clans as indigenous with Cushitic speakers
…Began to move into Ugogo (Mnyampala, 1954).
The Cushitic speakers (Kw‟adza) identified themselves using local names
„Wang‟omvia, Wamankala, and Wanyazi.‟ These people were hunters, root digging,
agriculture and gathering honey. They were also spoke the language of Waburunge
and a group of Cushitic people who lived in the North area (Ehret, 1991). Other
people were Wambambali or Wanyenzere, Mbilikimo (Wanghulimba), Wanya-
ugogo, Wetumba, Maseya, Takama and Nyambwa. These were migrants who came
from western, northern and southern part of Dodoma. Later on Wanguu, Wasagara,
and Wakaguru societies, from the eastern part, also migrated to the region
(Balisidya, 1977).
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Currently, there is no a clear statistics of the actual number of native speakers of
Gogo language, but researchers agree that the population is more than one million
native speakers (Ndalahwa, 2002). The statistics is provided in the table below.
Table 1. 1: Number of speakers of Gogo language according to various sources
Source of
Population
TPHC
report
(Ndalahwa,
2002)
Atlasi ya
Lugha za
Tanzania
(2009)
TPHC
report
(2012)
(Statistics,
2013)
Ethnologue
(2013)
Political
map of,
(Tanzania,
2012)
Joshua
Project
(Data,
2018)
Total: 1,692,025 1,023618 2,083,588 1,930,000 1,698,996 2,526,000
1.2.2 Linguistic Classification
Gogo language has been classified in different groups according to numerous
scholars. These scholars vary in their system of division. Either, Guthrie (1948) has
classified the Gogo language into Zone G (G.11) along with Kagulu which is called
Zone G.12. This normally differs from (Nurse and Philipson, (1999) who
categorized it into Western member of the Ruvu language and a sub-group of Great
Ruvu. Within this group of language, there is the existence of Kagulu, Zaramo,
Ruguru, Kami, Kutu, Ci-Vidunda, and Kisagara. Generally, all these languages are
found in Zone G in Guthrie classification and in Kagulu is (G.12).
Besides, the scholar Hinnesbusch (1973) investigated the area of Northeast Coast
Bantu whereas in turn, a scholar called Heine (1972) classified the categorization of
language with its Southern neighbours into Kihehe and Kibena in a group of a
Gogo–Hehe. Generally, all these classifications can be divided into linguistic criteria
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rather than geographical boundaries. The more and the best related classification is a
division which is divided by Kagulu as classified by (Guthrie, 1948). Gradually, it is
better from which Gogo and Kagulu are nearly the same in linguistic perspective.
1.2.3 Dialects in Gogo Language
According to Mnyampala (1954), Gogo language has numerous dialects. Their
differences are based on vocabulary, pronounciation, and accent, though they are
intelligible to each other. There are five sub-regions in Dodoma; each region is
speaking its own dialect. A group of people who live in Western area of Dodoma
and half in Manyoni are known as Wanyambwa, and they speak Nyambwa
(Cinyambwa) Dialect. These people are near to Kimbu, Nyaturu, Nyiramba and
Nyamwezi people. They live in the territory of Kinyambwa.
More generally, there is a group of people who live in the Eastern area, and in the
centre of Dodoma. These speakers are called Wanya-Ugogo or (Ngogo). It is
estimated that, this group is the mother dialect which bears all the other remainings.
The dialect is spoken at the central part of Dodoma, and it is surrounded by hills of
Maseya between Hombolo and the one of Ung‟omvia.
Moved quiet often, there is another dialect that is spoken at the Northern part of
Dodoma by speakers known as Wanya-Maseya (Cinamaseya). These speakers live
closer to the Maasai and Sandawe societies. They differ from other dialects due to
their specific linguistic features.
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Another dialect is the one of Wanya-Takama (Cinya-Takama). It is a dialect which
mixes Kinyambwa and Kinya-Ugogo. The speakers of this dialect live in the
Southern area of Dodoma and their neighbours are the Hehe.
Finally, is a group of the dialect known as Kozisamba. This dialect is spoken in
interior Southern area of Dodoma. The speakers of the dialect live in the South along
teh Kizigo river, the areas of Iwimbi, Nyangahi, Mbula, Mutwango, Masukunti,
Iwambara, Mkwambe and very few in Malolo.
Generally, instead of different dialects comprised in the Gogo language, people in
their sayings, elegant speech, accent and sound; still, their speech is intelligible to
each other.
1.2.4 Structural Features
This section briefly introduces practical orthography, phonological and
morphological sketches of Gogo language based on the previous studies published
in the forms of monographes and Master dissertations.
1.2.5 Orthography
The practical orthography for Gogo language was designed and developed through
Bible translations of which currently there are four versions: published in the years
1886, 1899, 1962, and 2002 (Dapila, 2008). The newest translation from 2002 is
considered to be the standard version of the language and sets up the modern
orthography. In other words it creates regular correspondences between sounds of
the language and letters to represent them. It is summarized in the table below, as
modified from (Rugemalira & Muzale, (2014).
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Table 1. 2: Gogo Orthography
Sound Letter Example Meaning
/a/ a gaya get sick
/i/ i icisi spirit
/u/ u ibulu mouse
/e/ e ibeleje dry grain stalk
/o/ o longola lead
/b/ b bana kick
/p/ p pepa smoke (pipe)
/m/ m mama grandmother
m mh mhogo bracelet
/v/ v vunda ferment
/f/ f funda instruct
/d/ d dima tend
/t/ t tima descend
/n/ n nembo mark
n nh nhembo elephant
/z/ z zuka rise from the dead
/s/ s suka weave
/l/ l luma cut
/ɟ/ j jenda walk
/c/ c cenga cry
/ɲ/ ny nyenye you
/ɲ / nyh nyhende gap in teeth
/g/ g gola harvest
/k/ k kola pass
ŋ ng‟ ng'ombe cow
ŋ ngh nghambi camp
/h/ h heha speak
w , β , ʋ/ w winga run after
/j/ y yaya his / her mother
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1.2.6 Vowels and Tones
According to Rugemalira and Phanuel (2009), Gogo language exhibits 5 vowels
system that include the most common vowel across languages: /i, e, a, o, u/ that are
classified in the table below.
Table 1. 3: Classification of Gogo vowels
Front Central Back
High i u
Mid e o
Low a
Vowels can bear tones – high and low. They are not reflected in the orthography, but
when necessary, they are indicated with the appropriate diactrics (´ for high and ^
for low tone). The tones can be lexical, in other words, sometimes they distinguish
the meaning of two words consisting of the same string of sounds. For example,
(1a) kufú: ta „to be impossible‟
(1b) kufû: ta „wipe‟ (Rugemalira & Phanuel, 2009).
Besides lexical tones, Cinyambwa dialect exhibits grammatical and pragmatical
tones. Accroding to Kiruya (2012), the speakers of Cinyambwa place the high tone
on the root vowel to mark the remote past, in other words, they assign this
grammatical category while placing a high tone to the root of the verb, as in the
following examples (Kiruya, 2012: 57-58).
(2) a-gúl-a mtuka wakwe
SM-buy-FV car his
„S he bought her his car‟.
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The pragmatical function of the tone consists in converting optative form of the verb
into a strong command while assigning the high tone to the final vowel, as in the
following examples:
(3a) cehee baho „sit there‟
(3b) cehéé baho „sit there (command)‟ (Kiruya, 2012).
Rugemalira and Muzale (2014) points out that the tonal patterns across dialects of
Gogo vary significantly and are the main difference between them. This statement
can be backed by the fact discovered by Grosserhode and published in his
monograph (Grosserhode, 1998). While analyzing the Mpwapwa dialect he came to
the conclusion that Gogo language is experiencing changes in its tonal system. The
language is developing stress system to replace the tones and this process is going
on with different speed and in different directions in different dialects.
1.2.7 Consonants
According to Rugemalira and Phanuel (2009), the consonant inventory of Gogo
language includes 24 sounds. They are represented in the following table.
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Table 1. 4: Classification of Gogo Consonants
Bilabial Labio-
dental
Alveolar Palatal Velar Glottal
Plosive voiced b d ɟ g
voiceless p t c k
Nasal voiced m n ɲ ŋ
voiceless m n ɲ ŋ
Fricative voiced b v z
voiceless f s h
Affricate voiced vw
voiceless fw ʣ
Approxi
mant voiced
ʋ l
Glide voiced w j
Nasals in Gogo, language appears as voiced and voiceless. The voiceless variants
are allophones of voiced counterparts and are in complementary distribution with
them. The voiceless nasals appear as the outcome of the collision between
homorganic nasal and a voiceless stop that results in consecutive aspiration and
destopping: NC > NCh > Nh. This process can be illustrated by the formation of the
names of fruits that are derived from the names of trees while prefixing them with
the homoorgamic nasal (Beletskiy, 2016).
Table 1. 5: Formation of voiceless nasals in Gogo language
Process Outcome
N + k ng‟h mukole „plant‟ ng‟hole „fruit‟
N + p mh mupelemehe „plant‟ mhelemehe „fruit‟
N + t nh mutupa „plant‟ nhupa „fruit‟
N + c ny‟h mucuyu „plant‟ nghuyu „fruit‟
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1.2.8 Syllable Structure and Phonetic Changes
According to Rugemalira and Muzale (2014), the basic Gogo syllables structure is
CV (4a). However, some modifications of the basic structure are possible. A syllabe
can be formed by only one vowel at the beginning of the word (4b), by a nasal and a
consonant (4b), by only a nasal when the subsequent vowel is omitted in spoken
language (4c), by a consonant, a nasal and a vowel (4d) by a consonant, a glide and
a vowel (4e):
(4a) ku.hu.li.ci.za
CV.CV.CV.CV.CV
„to listen‟
(4b) u.mu.bi.ci
V.NV.CV.CV
„at to near the tree‟
(4c) u.m.bi.ci
V.N.CV.CV
„at to near the tree‟
(4d) mu.gu.nda
CV.CV.NCV
„field‟
(4e) ku.lya
CV.CGV
„to eat‟
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Gogo language does not permit sequences of vowels (VV) and sequences of
consonants (CC). To splite these sequences when they emerge as a result of
morphological changes several strategies are employed that will be further be
referred to and described as phonetic changes. Either phonetic changes are „fairly
small changes in the phonetic realization of certain segments‟ (Trask, 1996). Chipalo
distinguishes the following changes: 1) palatalization, 2) vowel harmony, 3) elision,
4) gliding (Chipalo, 2012).
1. Palatalization is „the phenomenon in which a segment whose primary articulation
is at some other location is articulated with a secondary articulation involving the
raising of the front of the tongue toward the palate‟ (Trask, 1996). In Gogo,
language velar plosives /k/ and /g/ become palatalized when preceded by front
vowels /i/ and /e/ and result in palatal sounds /c/ and /ɟ/ respectively. These changes
take part in the prefix of noun class 7 that is „ci‟ in Gogo and in applicative forms of
verbs after suffix -il-/-el-, for example:
(5a) tug-a tuj-il-a
get-FV get-APPL-FV
„get‟ „get on behalf of someone‟
(5b) fik-a fic-il-a
arrive-FV arrive-APPL-FV
„arrive‟ „arrive at‟ or „meet‟
2. Vowel harmony is „the phenomenon, occurring in some languages, in which only
certain combinations of the language‟s vowel phonemes are permitted to occur
within some specified phonological domain, most usually those which agree
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(harmonize) in respect of one or more phonetic features, such as [back], [round], or
[ATR]‟ (Trask, 1996). In Gogo, verbs the quality of the stem vowel determines the
quality of the vowel in the extensions: the mid vowels /o/ and /e/ cause the mie
vowel /e/ in extensions (6a, b), high /i/ and low /a/ in stem cause the high /i/ in
extensions (6c, d).
(6a) gomol-a gomol-el-a
return-FV return-APPL-FV
„return‟ „return for‟
(6b) cem-a cem-el-a
call-FV call-APPL-FV
„call‟ „call for‟
(6c) gaw-a gaw-il-a
distribute-FV distribute-APPL-FV
„distribute‟ „distribute to for‟
(6d) hiz-a hiz-il-a
steal-FV steal-APPL-FV
„steal‟ „steal for‟
3. Elision is „any of various processes in which phonological material is lost from a
word or phrase‟(Trask, 1996). In Gogo, language the elision involves vowels in
verbal agreement prefixes when they are followed by some of tense-aspect markers:
(7a) cabita [ci-a-bit-a]
1PL-PST-GO-FV
„we went‟
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(7b) yaza [ya-á-z-a]
3SG-PST-COME-FV
„s he came‟
(7c) cogula [ci-o-gul-a]
1PL-FUT-BUY-FV
„we will buy‟
4. Gliding is a formation of a glide that is „a very brief phonetic vowel which
functions in some languages as a phonological consonant‟ (Trask, 1996). In Gogo,
language the high vowels /i/ and /u/ form glides /j/ and /w/ respectively when they
are followed by a not identical vowel, for examples:
(8a) kwimba [ku-imb-a]
INF-SING-FV
„to sing‟
(8b) kung‟wa [ku-ng‟u-a]
INF-DRINK-FV
„to drink‟
1.2.9 Nominal Morphology
The term morphology refers to the mental system involved in word formation or to
the branch of linguistics that deals with words, their internal structure, and how they
are formed (Aronoff & Fudeman, 2011). Besides, the nominal morphology concerns
with the structural and agreement patterns of nominal parts of speech and their
formation to accomplish. The key element of Bantu nominal morphology is the class
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marker – actually it is a functional morpheme that can be prefixed to a nominal,
adjectival or pronominal stem so as to make the agreement and concord with the
head word within a nominal phrase. Either, in this case the structure of Bantu
nominal parts of speech can be described as pre-prefix + prefix + stem while pre-
prefix is found not in all languages and if they can be found than so far its use is
being governed by pragmatical reasons rather than by purely morphological rules.
According to Rugemalira (2009), the noun class system of Gogo can be
summarized in the following table.
Table 1. 6: Gogo Noun Class System
Class Example Meaning Nominal
Prefix
Pronominal
Prefix
Object
Marker
Possessive
-a
1 munhu person mu (y)a mu wa
2 wanhu people wa wa wa wa
3 mubici tree mu u u wa
4 mibici trees mi i i ya
5 itunda mountain i/li li li lya
6 matunda milima ma ga ga ga
7 cinhu thing ci ci ci ca
8 vinhu things vi vi vi vya
9 mhene goat n i i ya
10 mihene goats n zi zi za
10a zingwagu *firewoods zi zi zi za
11 lugwagu firewood lu lu lu lwa
14 wudoba laziness wu u u wa
15 kulima cultivating ku ku ku kwa
16 hacanyha on top ha ha ha ha
17 kumubici to the tree ku ku ku kwa
18 mumalenga in water mu mu ha mwa
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Odd classes represent nouns in singular forms; even classes represent corresponding
plural forms. The basic semantics of the classes can be represented with these
examples: classes 1/2 – this normally are used for nouns which are associating with
people, classes 3/4 – stand to represent the actual uses for plants, classes 5/6 – affirm
to fruits, classes 7/8 – function to represent body parts things, 9/10/10a – stand for
animals and various things (default classes), classes 11 and 14 – can be associated
with the abstract nouns with generalized meaning, 15 – substantivized infinitives,
classes 16, 17, 18 – are more useful for locatives. Sometimes, because of
pragmatical reasons, nouns are used with the pre-prefixes that are vowels /u/ (used
before prefixes containing this vowel) and /i/ (in other cases).
In addition, noun classes are also called agreement classes as they determine the
way a noun would agree to other parts of speech, according to its class. Nominal
prefixes are used with noun and adjectival stems (9a), pronominal prefixes are used
with verbs (9b), demonstratives (9c), possessives (9d), relative -ono (9e) and
universal -ose (9f) pronouns.
(9a) mu-nhu mu-waha wa-nhu wa-waha
1CL-PERSON 1CL-BIG 2CL-PERSON 2CL-BIG
„big person‟ „big people‟
(9b) li-bwe li-ku-z-a liwafuniceni [li-wa-funik-eni]
7SM-STONE 7SM-PRS-COME-FV 7SM-OM-COVER-SUFF
„if the stone falls down it will squash all of you‟
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(9c) ng‟-ombe i-yo
9SG-COW 9SG-DEM1
„that cow‟
(9d) i-kaburi lyao [li-ao]
5CL-GRAVE 5CL-THEIR
„their grave‟
(9e) li-tuwa lyono [li-ono] si-li nyal-ag-a
5CL-FLOWER 5CL-WHICH NEG-BE DRY_UP-HAB-FV
„a flower that never withers‟
(9f) wa-nhu wose [wa-ose] wa-wa-lya ishirini ne [na i-] hano
2CL-PERSON 2CL-ALL 2CL-2CL-DEM4 TWENTY AND 9AUG FIVE
„all those twenty five people‟
Besides, the Gogo demonstratives are organized into four series whose semantics
and structure can be summarized in the table below (Rugemalira & Muzale, 2014).
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Table 1. 7: Structure and Semantics of Demonstratives in Gogo language
Serie Semantics Structure Example
1 Proximal: very close to the
speaker prefix+prefix+u
mubici wuwu
(mu)bici (wu)w+u
(CL3)
2 Proximal: close to the speaker prefix+prefix+no
wanhu wawano
(wa)nhu
(wa)wa+no „these
people‟ (CL2)
3 Distal: close to the hearer, far
from speaker prefix+prefix+o
siku yiyo
(si)ku (yi)y+o
„that day‟ (CL9)
4
Distal: far from both speaker
and hearer; referencial: for
mentioning something that is
not visible but known by both
speaker and hearer
prefix+prefix+lya
nzoka lililya
(n)zoka (li)li+lya
„that (mentioned)
snake‟ (CL9)
The table above contains full forms of demostratives; however, they are often
shortened while replacing the first prefix with the morpheme “a” (mubici awu,
wanhu awano, siku ayo, nzoka alilya).
The table below summarizes personal pronouns, subject markers and possessive
pronouns of Gogo language.
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Table 1. 8: Subject Markers, Personal and Possessive Pronouns in Gogo
language
Number Person Personal
Pronoun
Subject
Marker
Possessive
Sg
(singular)
1 nene n -angu
2 gwegwe u -ako
3 mwene ya -akwe
Pl
(plural)
1 ase ci -etu
2 anye mu -enyu
3 weneco wa -ao
1.2.10 Verbal Morphology
Morphology refers to the mental system involved in word formation, or the branch
of linguistics that deals with words, their internal structure, and how they are formed
(Aronoff & Fudeman, 2011). In other side, verbal morphology is the analysis of
verbs and its internal structure. Gogo language is like any other Bantu languages, it
has a tendency of attaching a number of affixes in verbal roots. This particularly can
be attached before and after the verb roots to convey different and numerous
meanings. The term is seen to be very complex under a certain regular system of
uses. The Gogo language has universal categories of verb extensions as other Bantu
languages. However, it can be described and categorized according to semantic
category. According to Hyman (2007) has further asserted that those verbal suffixes
which are also called extensions, most frequently, have what would be identified as
derivational functions. Again, this is to describe that the verb extensions always do
not change the category of the words in which they are attached with. Instead, they
are considered to have derivational property. Booij (2007) pointed out that the
extension refers to the criterion to start with for categorizing verb extensions in
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derivational morphology. Hyman (2007), while reconstructing the nature of verb
unit in Proto-Bantu, has observed the elements such as obligatory verb root or
radical, optional extensions or derivational suffixes and the obligatory inflectional of
final vowel.
Though, the verb extensions have an ability to create different semantic sub-
categories of the verbs in which they are attached to.
Hence, the structure of Bantu languages specifically Gogo verbs can be included the
following elements and particles which are also realized in width range of patterns in
the following order: the negative marker (NEG), subject marker (SM); tense-aspect
marker (TAM); object marker (OM); reflexive marker (REFL); root (ROOT);
extensions (EXT); final vowel (FV); clitics (CLT).
The table below illustrates the use of the structural elements within a verbal form in
Gogo language.
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Table 1. 9: Order of the Elements in a Verbal Form
NEG SM TAM OM REFL ROOT EXT FV CLT
Si Ya Ku Wa lunj [lung] Il a
S/he is not concealing them.
I Ku Ci lanj [lang] Il a
It [the story] teaches us.
Ci lec [lek] El E
If we let [the stone fall down].
c [ci] Olo gum il-w a
We will be thrown.
vy [vi] e [a- -i] lund Ik a
They [animals] came to a meeting.
Ci M cem a Je
What should we say to him/her?
Negative marker is used to negate the meaning of the verbal form. It has only one
form “si” and is always prefix to the subject marker. Examples:
(1a) Zuwalili sinobita kumgunda
Zuwalili si-n-o-bita ku-m-gunda.
TODAY NEG-1SG-FUT-GO CL18-CL3-FIELD
“Today I won‟t go to the farm”
(1b) Aysha siyanozize usafi kuchumba
Aysha si-ya-nozize usafi kuchumba
AYSHA NEG 1SG-PST-DO CL14-CLEAN-CL17-ROOM
“Aysha didn‟t do the clean in her room”
Subject marker coordinates verbal form and the subject of phrase, or sentence. The
subject marker denotes the noun class of the subject in case of nouns which are not
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animated (see Table 6) or person and number in case of animated nouns (see Table
8). Examples:
(1a) Askari analinda lindo lya usiku
a-skari a-n-a-linda lindo lya usiku
1CL-POLICE 1CL-1SG-PST-GUARD 5CL-GUARD 16CL-OF 14CL-NIGHT
“A police is guarding the night shift”
(1b) Zabibu nzuri zimeozea kushamba
Zabibu n-zuri zi- me- ozea kushamba
8CL-GRAPE 8CL-GOOD 8CL-PRS-DESTROY 17CL-FARM
“Good grapes are destroying in farm”
Tense-aspect marker indicates tense and/or aspect that might be associated with a
certain tense. According to Cordell (1941) Gogo language possesses the following
tense-aspect markers:
ku for present tense (u-ku-bita „you are going‟);
a for past (yabita [ya-a-bita] „s he went‟);
ka for narrative past (ya-ka-bita „and then s he went‟);
Ø for near past (wa-Ø-bita „they have gone‟);
o for near future (n-o-bita „I will go‟);
olo for remote future (n-olo-bita „I will [probably] go [in the remote
future]‟).
Object marker indicates the object that might or might not be introduced with a
noun. The forms of the OB reflect the noun class of the object (see Table 6).
Examples:
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(1a) Wanhu wanalinda
Wa-nhu wa-n-a linda
2CL-PERSON 2CL-2PL-PST GUARD
“People were guarded”
(2b) Mubici mswanu
Mu-bici m-swanu
3CL-TREE 3CL-GOOD
“A good tree”
Reflexive marker (k)-i indicates the reflexive nature of an action; that is, the action
is being done by the doer to him / herself. Examples:
(1a) Yakugogomoka
Ya-k-u-gogomoka
1CL-Ø-RM-2SG-PRS-VOMMIT
S/he is vomiting to him/herself.
(2b) Yakiandichela baluwa
Ya-ki-a-ndichela baluwa
1CL-Ø-RM-3SG-PST-WRITE-7SG-LETTER
S/he has wrote a letter for him/her
A root contains the lexical meaning of the verbal phrase and is the structural center
to which other components of languages are prefixed or suffixed. Examples:
(1a) Yakamnugulilya inumba mafwifwi
Ya-ka-m-nu[gulil]ya i-numba ma-fwifwi
1CL-PST-1CL-BUY 9CL-BIRD 8PL-FOOD
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S/he has bought the bird a food
(2b) Yakanisolela ndigwa nene
Ya-ka-ni [solel]a ndigwa nene
1CL-PST-1SNG-TAKE FOOD 1CL-ME
“S he went to take the food for me”
Extensions: the term refers to all the posts-radical or pre-final elements of a verbal
stem (Miehe, 1989). The description of verbal extensions in Gogo language goes in
hand with the verbal derivation. Potentially, Gogo language is like any other Bantu
languages has an attribute of attaching a large number of affixes before and after the
verb roots. This is done for the purpose of conveying numerous meanings as follow:
Applicative construction: Applicatives can be defined as specific grammatical
elements, verbal affixes that increase valence (Shibatani, 1996). Constantly, the
Gogo language uses the applicative markers of (el- or -il). In this, therefore, the
system guides by verb suffixations that are controlled by the rule of vowel harmony.
Substantially, the roots with vowels [e] and [o] take –el- whereby those verb roots
with vowels [a], [i] and [u] take –il-. Such examples: e, o =el (yakuhela –
yakuhelela), a, i, u= il (kwamila –kwamilila).
Causative construction: Causative extension refers to the indication that cause to do
or cause to be (Lodhi, 2012). Whenever the causative particle is attached to a verb in
Gogo language, it either adds more meaning or brings changes to the argument of
particular verb. It has also the characteristic of using a new argument to the syntactic
framework in their forms and semantic roles. Indeed, the most frequently causative
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particles for Gogo language are two. Namely: [i]- and [is]. Such examples are words
like: vaa-val-i-a and fu- is- a.
Stative construction: this is the type of extension which allocates the position or
posture (Lodhi, 2012). In Gogo language, verbs can be suffixed using the particles
[ik] and [ek] for stative extension. Further, this exists with the semantic notion of
being in a position or possibility of the action verb upon its object. To be sure, the
suffixes [ik] and [ek] are determined by vowel coalescence depending on the verb
root vowel. These examples provide more illustrations for such description:
ikusumikana =i-ku-sum-ik-an-a and ukutemekana=u-ku-tem-ek-a-na.
Passive construction: The term indicates a form of the subject acted upon by an
agent (Lodhi, 2012). In Gogo language, the passive is morphologically indicated by
the representation of a pre-final element (suffix) [w]. Slightly, the analysis of verbs
structures in Gogo language shows that passive extension is only applicable to the
canonical verb structure consonant, vowel consonant (CVC), also syntactically
restricted to transitive verbs. In co-occurrence with other particles, the passive
extension actually occupies the position of the last slot in a sequence of several
extensions. Like: sola-sol-w-a and ndijite-ndijit-w-e.
Associative construction: the related form of this extension indicates two or more
subjects associated in action (Lodhi, 2012). In fact, the associative extension in
Gogo language is formed by the parameter of [an] to the verb root. The application
to the verbs in Gogo language aims at expressing the concept of association or
togetherness of action doers or agents. In that case, the reflexive marker must be
used with plural subject markers. The reciprocal verbs require more than one agent
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which at the same time are said to be mutual patients of those verbs, examples:
wakubananila mpira = wa-ku-bana-an-il-a m-pira and wakutanilanila hamonga =
wa-ku-tanil-an-il-a hamonga.
Generally, it is confirmed that Gogo language has verb extensions which are used to
increase or change the number and or roles of participants of verbs. Thus, with such
cases, the verb extension is treated as a derivational property in Gogo language in a
verb morphology.
Final vowel: this is a final morpheme that exists after a root of a verb which
functions to accomplish the intended meaning of the action (Pius, 2015). In Gogo
language the final vowel is „a‟ fuka=fuk-a and lunda=lund-a.
Clitics: refers to the elements that prefixed to the verb stem (Gunnink, 2018). It is
generally used as independent syntactic constituents that appear phonologically as
part of a host word or derived word. In Gogo language clitics obviously can be seen
in words like:
(1a) Ci-m-cem-a=je?
1PL-OM-SAY-FV=WHAT
„What should we say to him‟
1.3 Statement of the Problem
Although, Gogo language is vigorous and has a big number of speakers, there are
still few publications about it. The available works include:
One trilingual (Gogo-Swahili-English) dictionary (Rugemalira, 2009)
Two grammar descriptions: one reference grammar (Botne, 1980)
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One unpublished sketch (Rugemalira & Muzale, 2014)
Two monographs: one about tone and stress in Gogo (Grosserhode, 1998),
another about oral literature of Gogo people (Balisidya, 1977)
8 Master dissertations: four of them addressed the morphology of Gogo
language (Chipalo, 2012; Goliama, 2011; Rossel, 1988; Sakaya, 2011) and
one examined the tone of Cinyambwa Dialect of Gogo language (Kiruya,
2012) while, another three examine sociolinguistical issues of Gogo
language such as language attrition (Utamwa, 2016), ritual communication
(Chilongali, 2016) and usage of proverbs.
The researcher is also aware of the four translations of the Bible into Gogo language
that were published in the years 1886, 1899, 1962, 2002 (Dapila, 2008).
The published works hardly cover two of the three areas of language
documentations –grammar and vocabulary – leaving the third aspect – collection of
texts – blank. With this study, the researcher covers this area through a collection of
traditional Gogo narratives (fairy tales) followed by a description of their linguistic
and communicative features. However, it should be noted that the Bible cannot be
treated as a collection of texts for this language because it is a translation and not an
authentic Gogo texts.
1.4 Objectives of the Study
The objectives of this study are divided into the general objective, which gives the
over-all idea of the research, and the specific objectives, which highlight the specific
areas studied in this research.
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Through this study, the researcher generally describes and analyzes the linguistic
practices of fairy tales of Gogo language. This is well achieved through the
following specific objectives:
Specifically the study aimed to:
i. To collect fairy tales in Gogo language
ii. To create the data base of Gogo fairy tales
iii. To provide overview on the theory of communicative genres
iv. To analyze the linguistic and structural communicative features of Gogo
fairy tales
1.5 Research Questions
This dissertation provides answers to the following research questions:
i. What are the fairy tales of Gogo community?
ii. What do Gogo traditional fairy tales mean?
iii. What is the theory of communicative genre?
iv. What is the importance of fairy tales for Gogo generations and why the fairy
tales are not working properly to Gogo generations nowadays?
1.6 Significance of the Problem
This study aims at analyzing and describing Gogo narrations (fairy tales) as spoken
genres. It was focused on the specific area of fairy tales. It is clear that, the study
showed the direct effectiveness in linguistic knowledge which is concerning with
how Bantu languages are structured.
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Furthermore, the study has two sides these are:- the first area is concerned with the
findings that are based on the study. In this area, the researcher helped to provide a
review of publications about the Gogo language which have not been documented
before. Either, it is expected that the collective of Gogo fairy tales can be useful
guide and a core economic structures for other people to understand some aspects
about the Gogo language.
The other aspect is about the findings of the study which provide a reference to
linguists who are interested in doing research about Bantu languages specifically in
linguistic analysis of fairy tales. This is because; the findings of this study have
created a data base and documentary on fairy tales in Gogo language. In doing so, it
has provided a review of publications about fairy tales. Consequently, the study
provides help and motivational power to promote the people who want to engage in
traditional narrations of Bantu languages using their local languages. Similarly, it
has provided a contribution in linguistic knowledge, showing a starting point and
indicating further study in other areas that have not been studied yet.
1.7 Scope of the Study
The study was conducted in the rural area of Gogo community of Dodoma. This
study substantiated and explored the language used in traditional narratives.
However, the study does not show all Gogo traditional narratives of spoken genres.
Rather, it has limited itself in investigating the nature of fairy tales of
communicative system. Above all, the general argument and focus was done on
specific area of fairy tales. Indeed, it was investigating the nature of fairy tales and
its direct effectiveness in linguistic knowledge. The study was carried out in one
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District which is Hombolo in the Municipal of Dodoma Region. The researcher
chose the village because of its indigenous and actual speakers of Gogo language
compared to the other areas. Therefore, in this area is suitable for this research due
to elders and other common people of high ranks (village leaders) are lived.
1.8 Limitations of the Study
In summary of this study, the researcher faced several problems in such away that,
thie situation caused the work to delay. The main challenge was concerned with the
culture of the Gogo community towards strangers in Hombolo Village. Thereby, this
applied in the process of availability of pure and natural data. The situation was very
worst and difficult to due to their norms, attitudes, views and perspectives.
Another challenge was about the data (narrations) obtained from the field were
based on a matter of local language (Cigogo). This caused difficulties for a
researcher to understand and interprete them, due to, she is a non native speaker of
Gogo language.
1.9 Concluding Remarks
The chapter has explained the main intention of the study. It started by providing
back-ground information of the Gogo language and its speakers in brief overview as
well as the status of linguistic research in the related language. Again, it explained
the geographical location, linguistic classification, dialects of Gogo language and its
structural features, orthography, vowels and tones, consonants, syllable structure and
phonetic changes, nominal morphology and verbal ones.
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Thoroughly, the chapter has introduced the research problem together with the
objectives of the study and research questions. Eventually, the chapter has ended by
showing the justification of the study with some challenges that a researcher
encountered during undertaking data in the study.
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CHAPTER TWO
LITERATURE REVIEW AND THEORETICAL FRAMEWORK
2.1 Introduction
The previous chapter provided a ground on short historical information about the
Gogo language. This chapter now presents the literature review and the theoretical
framework that is guided the study. Indeed, it focuses on what other scholars have
done on the study about Gogo language. The discussion either develops the
definition of fairy tales, concept of fairy tales, structure of fairy tales, and the earlier
studies on fairy tales, examples of fairy tales as a communicative genre aspect as
well as giving out findings from other researcher‟s works.
Meanwhile, in theoretical frame work, the chapter provides a clear description on
the theories. These are:- the theory of communicative genre and the theory of
conversational analysis. These two theories have been used in this study because
they are both are relating to the study of communicative analysis of Gogo fairy tales.
These theories provided a great contribution and guidance to this study. Finally, a
conclusion has been drawn which is based on what the reviewed works have
revealed.
2.2 Literature Review
2.2.1 The Concept; Meaning and the Importance of Fairy Tales
Conceptually, according to Balisidya (1977), fairy tales are traditional narrations
that provide morals and have been received orally from generation to generation. Of
course, Elcin (2013) defined fairy tale as a story which teaches a lesson while
containing a moral lesson in itself. In addition, a scholar August (1991) has states
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that the fairy tales are reflections of the social order in a given historical epoch, and
as such represent and symbolize the aspirations, needs, dreams, and wishes of
common people in tribes, community or society. Perhaps, a fairy tale exists for the
purpose of affirming the dominance of social values and norms and reveals the
necessity to change them. The storyteller adopts the devices of verbal magic, the
animate forces ascribed to the world of fairy tales as a genre. Yet, they were fluid
conversations and events that appeared in the past centuries. A story like: potato
soup “Is a true story that was based on real-life which considers the real life of
poverty and starvation with dysfunctional of families. Of course, they were
dramatized the ordinary circumstances of daily sufferings, needs, desires, and
dangers which they faced.
More general, the fairy tales are imaginative stories that are told to children as a
means of entertainment and as a medium of teaching moral values (Rahizam, 2008).
Potentially, fairy tales were received and narrated using oral form and they stay for a
long time.
In Gogo society the concept of fairy tales are characterized by two narrators. The
first one is who has the responsibility of creating the community rules and
prohibitions according to Gogo norms and culture. Likewise, the second narrator is
one who is narrating the tales to people from one generation to the other (Balisidya,
1977). They have direct chronological events and they are very short. In traditional
sense, most of the times Gogo fairy tales contain songs which have a full message of
the story. Thereafter, the characters of Gogo fairy tales are mostly animals that carry
human beings attributes. However, sometimes they vary. Indeed, they may be devils,
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or other non-existing creatures like dragons and ghosts. This was purposely done in
order to avoid confrontations in the society of common people.
Constantly, fairy tale is the most important communicative genres in reflecting the
children sensitivity, feeding children‟s souls, enriching the imagination and
preparing the future. To a large extent, societies used them as instruments of training
in the past and they still have the same function today. Again, scholars confirm that
fairy tales have a special position in teaching reading, writing, speaking and
listening skills to children. In this way, they can exploit teaching in various talents,
fluency, diversity and politeness in the mother tongue (Boratav, 1973). On the other
hand fairy tales can contribute to the understanding of children‟s inner life.
According to Yassin, (2015), fairy tales are important be taught to children because
they teach them the way of challenging in life and overcoming the problems, acting
independently and living in harmony with nature. They also contribute to personality
development in children. They can express themselves comfortably; search for the
love they desire and make them softened in conflicts.
According to Biechonski (2004), the fairy tales offer the possibility to view the
imagination as a defensive mechanism or distortion of reality. Again, they can
similarly offer more positive perspective through the expression of creativity and
health. By working with adults using hypo therapy of fairy tale unconscious can be
accessed to facilitate personality integration. Besides, fairy tales have endless
amount of possibility. They are full of wonder and magic hope, that they make us to
believe that the best can actually happen (Babauta, 2015).
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2.2.2 Fairy Tales as Folklore Genre
The term folklore refers to the knowledge and skills that people have acquired about
the world and societies themselves that have not learn in schools or textbooks.
Scholars asserted that “we learn folklore from each other” (Sims & Stephens, 2005).
It is the informally learned, un-official knowledge that people share with peers,
families and other groups we belong to. Substantially, the folklore is informally
learned, un-official knowledge about the world of ourselves, communities, beliefs,
cultures and traditions, that are expressed creatively using words, music, customs,
actions, behaviors and materials (Sims and Stephens, 2005). In other side folklore is,
understood as customs, stories, rituals and traditions, is a useful lens through which
to look at disparate cultures (Samora, 2011). Its origin exists from cultures and
human existence, and these stories validate and justify the status quo and serve to
develop stability and agreed culture.
Substantially, they serve to teach the culture to the young, conforming to mores and
accepted patterns of positive behaviours. Besides, folklore enables human beings to
deal with the repressive nature of the dominant culture (Georges & Jones, 1995).
Folklore similarly provides the form of interacting the dynamic process of creating
things, communicating on between people, and performing to events as people are
sharing their knowledge with other groups. In addition, fairy tales is one of the
several genres by which folk narrative tradition is classified. Either, folklore is used
primarily as a means of communication while it is as communication that it needs to
be studied (Arewa & Dundes, 1984).
Genre is one of the fundamental concepts of folklorists, reminding us about the
vernacular orality takes traditional forms. Genres are produced and reproduced and
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changed over time (Orlikowski & Yates, 2002). These changes have often been
established the new genre may emerge. Either, fairy tale provides a gap that bound
the ties of society together and it is a bound typing of texts. In sofar from that
concept a fairy tale could be considered as a sort of homogeneous within the greater
space of folklore. So far, it is a kind of narrative as folklore therefore it shares
certain number of folklores qualities.
The very clear cut distinction between these two is:- aside of folklore should base on
society belief, historical and cultural context of the storyteller and listeners‟ sphere.
Henceforth, they are prose which are narrated and regarded as fiction. In this
remarkable therefore, they are removed from their original contexts and re-framed in
a literary sphere. In the face of fairy tales work to tell a story concerns figures,
phenomena, situations, beliefs and other supernatural things with realistic
boundaries and daily life.
Because, folklore contains the people‟s body of culture that are shared by a
particular group of people in certain society. It, therefore, encompasses the people
traditions common to that culture and subculture group in certain tribes. Yet, the
nearly relationship is in fairy tales include the material things in culture which are
ranging from traditional building styles to the people in society. It similarly has the
ability to the forms of rituals of celebrations and initiation rites. Normally, these
essentials are often then be transmitted from one generation to another either by
single person or group in the society.
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2.2.3 Fairy Tales as Literary Genre
The fairy tale began hundreds if not thousands of years ago as an oral form of
storytelling and narrations that were created by adults, who told all kinds of tales in
diverse settings in which adults‟ village leaders and determined the forms and
contents. They told tales to communicate important information (Jack, 2011).
Gradually, many researchers did different studies about the fairy tales in relation to
the genre. In Europe and North America, communities developed various modes of
storytelling by different dialects closely connected to their customs, laws, morals
and their own beliefs. In this time, the narrative element issues begin from the real
life experiences and customs of social classes.
Scholars, like Charles Perrault and Jean de Mailly (1890 Cited in Bottigheimer,
2002) asserted that in the (1700‟s), had contributed much to the fairy tales to be a
genre. From this point of view in 1720 fairy tale was institutionalized to be a fully
genre and was fully focused on children views in all areas. Perrault and Mailly have
suggested that: “Any fairy tale however varied in length it should be about 10-60
pages and most of them should address to the children.”
In such cases, the structure of narrating enables the listener to recognize, store,
remember, and reproduce the stories and make changes in order to fit in the daily
experiences and desires. Certainly, they are acceptable fairy tales to be as a genre.
Thereafter, fairy tales underwent shifted in the 19th
century to children in all nations
in Europe and North American. Yet, they were carefully monitored and censored till
1820‟s; however, the collections were based on the upper class children. In this time,
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Brothers Grimm in Wihelm revised their collections of children‟s and household
tales (Grimm, 1815) and made them more clearly for children.
Later, the writers, like:- Decameron (1991) in his book called “Boccaccio:
Decameron” and Chaucer (1981) in his book Canterbury Tales have been
established the fairy tales to be an independent and a literary genre.“…stabilized
genre, novella these short narratives are set in sequence by an organizing frame or
cornice which transforms a mixed bag of tales into a unitary work of art.”
Bettelheim (1976) conducted a study about the most comprehensive guidance to
interpreting fairy tales with his The Uses of Enchantment. This work provides in
depth psycho-analytical discussion of what role disenchantment plays in various
fairy tales. He discusses specific fairy tales, and his analysis relies heavily on
psychosexual interpretations. Either, he devoted to the concept of animal-groom
cycles in fairy tales. Bettelheim explains that:
“The prince and princess getting married and inheriting the kingdom,
ruling it in peace and happiness, symbolizes to the child the highest
possible form of existence because this is all that he desires for
himself, to run his kingdom-his own life- successfully, peacefully, and
to be happily united with the most desirable partner who will never
leave him”.
The Bettelheim‟s explanation accounts for the why numerous fairy tales revolve
around the characters and then becoming disenchanted when someone tries to find a
true love.
Another scholar Zipes (1975), who did extensive research on the subject of fairy
tales, takes an entirely different approach in understanding fairy tales. He interprets
fairy tales in terms of the socio-political context in which they were written.
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He believes that:“Enchantment equals petrifaction. Breaking the spell equals
emancipation,” (Spells of Enchantment xv)
This view is existing as one that is pervasive throughout his extensive writings. In
such cases, Zipes maintains that fairy tales are a product of the culture in which they
were written, so they reflect the socio-political values of that culture.
Extremely, Zipes alludes to the use of disenchantment by stating that:
“In transcending the limits and springing the confines of their own
society with magic, fairy tales provide insight on how the
rationalization process of exploitative socio-economic systems need to
be and can be humanized” (Zipes, 1975).
He views the use of disenchantment in fairy tales as a way of depicting on how the
lower class seven (7) can be transformed in order to seize power as monarchs (Zipes,
1975). In addition, the researchers Siegel and Mc. Daniel (1994), have discussed the
psychosocial interpretation of the popular fairy tales. They talked about the
variations that existing in the fairy tales. Siegel and Mc Daniel account for these
discrepancies with the argument that; Grimm Brothers edited and reinforce certain
mores and cultural biases. Any explicitly sexual, erotic or physical intimate portrays
were transformed so as to be acceptable to prevailing Victorian sensibilities (Siegel
& Mc Daniel, 1994).
Substantially, they emphasize on violence as a key of disenchanting a character.
Moreover, it confines in a matter of empirical issue and then, they suggested that
through fairy tales the violence is the only solution in the violent method of
disenchantment. The result noticed that, it is very necessary to rid character of the
evil part of his nature, leaving him with good that is inside him (Siegel and Mc
Daniel).
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2.2.4 Fairy Tales as an Object of Linguistic Study
As it has been demonstrated in the previous sections, fairy tales have been studied
extensively by folklorists, anthropologists and literature scholars, but they are also of
a great interest for linguists. Meanwhile in the present study the author relies heavily
on the research done by Russian linguists in (Koval, 2005) on African fairy tales that
were published in a three-volume work entitled “African Folktales” (Issue I – 1984,
issue II – 1997, and Issue III – 2005). Generally, in these publications authors
analyse the peculiarities of the language used for narrating fairy tales as well as
provide original texts supplemented with annotations and translations. In sofar, the
linguistic features of Bantu languages unveiled in “African Folktales” were
explicitly summarised by Irina Toporova (2012) in her monograph “Studies on
Bantu Folktales Typology”. The author analyses data of the following languages:
Gusi (JE42), Dabida (G21), Kuria (JE43), Laadi (H16f), Luguru (G35), Ngindo
(P14), Nyakyusa (M31), Pogoro (G51), Zulu (S42) in the following domains: topics,
style and vocabulary, composition, and syntax. These domains are being explained
in more details below.
Topics reflect the stages of folklore development at which a given fairy tale can be
placed based on the presence of archaic or elaborated elements. Archaic elements
are mythical in their nature and can be tracked on the topical level. Either an archaic
fairy tale may address such topics as etiology (a mythical explanation of the natural
phenomena), cannibalism, totemic believes, ancestor worship, magical and ritual
activities, marriage between people and animals, spirits, and the cultural hero (a
character who changes the world through invention or discovery, sometimes a
legendary figure) (Toporova, 2012). A study added on the elaborated, or developed,
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stories show demythologization. In other words, they lack etiology, totemic believes
and ancestor worship as well as fixed opening sentences. To be sure they are
characterised by the use of direct speech, personal names, moral ending and facts of
modern life. In fact, the style of developed fairy tales is elaborated. However, the
texts are full of idioms, synonyms, reduplications and tautologies, but their syntax
and grammar are noticeably simpler rather than grammar and syntax of archaic texts
(Toporova, 2012). Let us discuss the linguistic items found across the data while
describing the next domain – style and vocabulary.
First of all, developed Bantu fairy tales are characterized by the use of a wide range
of expressive means: idiomatic and vivid expressions, lexical tautology,
reduplication, and idiophones.
Idiomatic and vivid expressions are used by narrators to increase expressiveness of
the story and to achieve higher stylistic impression, for example:
(1a) it-a ri-so nse [Gusi]
HIT-FV CL7-EYE DOWN
„to look down‟
(Idiomatic expression increasing expressiveness)
(1b) tiy-a mo-tema [Lingala]
SEND-FV CL3-HEART
„to love‟
(vivid expression increasing stylistic impression if compared with the
verb -linga „to love‟) (Toporova, 2012).
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Lexical tautology is the repetition of a word or its part. Tautology is used to
emphasize a certain meaning and or to create rhythm of narration (Toporova, 2012).
The repeated element can be a noun following a verb (1a), a verb following a noun
(1b), a finite verb following an infinitive (1c), an infinitive following a finite verb
(1d), an adverb or an idiophone following a verb (1e), for example:
(1a) ko-solol-a ma-solo [Lingala]
INF-CONVERSE-FV CL4-CONVERSATIONS
„to have a conversation‟
(1b) o-ro-ha ro-roror-e [Kuria]
AUG-CL5-HEAT/NOUN CL5-HEAT/VERB-FV
„It is very hot‟
(1c) N-chieshi wun-a kwa ka-ku-wun-ini [Laadi]
CL9-HARE CHEAT-FV EVEN 3SG/PST-2SG/OM-CHEAT-PL
„Hare cheated you all‟
(1d) A-li-nkwend-a u-ku-ßuk-a [Nyakyusa]
3SG-PST-GO-FV AUG-INF-RUN-FV
„He ran fast‟
(1e) Agwo Okando a-ga-ki-ri kiri [Gusi]
HERE LION 3SG-PST-FALL_SILENT-PFV SILENTLY
„And the lion fall silent‟
Reduplication is ideophonic adverb as a word class which is characterized by other
word class in either non-productive (nouns) or non-existence (verbs) (Voeltz &
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Hatz, 2001). They may be partial or total which most of them exist in discourse.
Reduplication is used to signalize intensity, disintegration, dispersiveness,
diminutiveness or augmentativeness. Almost all parts of speech can undergo
reduplication being reduplicated by the same or other parts of speech containing the
same root. Besides, reduplication can be either full (the whole segment is being
repeated) or partial (a piece of segment is being repeated) as well as continuous
(repeated segments are not separated by any other segments) or discontinuous
(repeated segments are separated by other segments) (Toporova, 2012), for example:
(1a) N-zoto enso m-pota m-pota [Lingala]
CL9-BODY WHOLE CL9-WOUND CL9-WOUND
„The whole body is damaged‟
(Continuous lexical full nominal reduplication)
(1b) A-biene ku-biene ba-keng-ire i-kina i-ga [Kuria]
3PL-SELF CL17-SELF 3PL-PST-DECISE-PVF CL9-DECISION
CL9-THIS
„They themselves took this decision‟
(Continuous lexical partial reduplication of a personal pronoun being
repeated by its locative form)
(1c) U-ka-i-lol-a i-i chia na i-i chia [Dabida]
3SG-PST- OM/CL9-SEARCH-FV 9CL-THAT 9CL/SIDE AND
9CL-THAT 9CL/SIDE
„He searched for it everywhere‟
(Discontinuous lexical full reduplication of a noun phrase)
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(1d) Nyuma ya-ro vi-ka-zoy-a ku-id-a-id-a [Dabida]
BEHIND 9CL-HIS CL8-PST-BECOME-FV INF-GO-FV-GO-FV
„Behind his back they [butterflies] started to flutter hurriedly‟
(Continuously morphological reduplication of a verbal root).
Idiophones are words that can fall into syntactic class of language: they are nominal,
adjectival, intensifier, verbal, adverbial, as well as interjection ideophonic words
(Voeltz & Hatz, 2001). In their functions, they stay close to adverbs as they describe
a manner of action expressed by a verb. They are usually an idiophone consists of a
repetitive syllable (Akwa: ba ba ba „rat-tat‟, ko ko ko „ha-ha‟, tse tse tse „very few‟).
Similar results depend on the presence or absence of morphology idiophones exhibit
simple, (1a) or complex structure (1b) (Toporova, 2012), for example:
(1a) i-sa-li tee tee tee [Lingala]
CL10- WORK-PFV TEE TEE TEE
„They worked for a long time‟
(1b) A-ka-nyor-a o-ro-oche ro-ichire churi [Gusii]
3SG-PST-SEE-FV AUG-CL5-RIVER CL5-BE_FULL FULL
„And then she saw a full-flowing river ‟
The discussed lexical means are organized not in arbitrary way but in a determined
fashion that is being discussed below as composition.
Composition is the sequential organization of narration (Toporova, 2012). Further,
Toporova analyses the quite fixed parts of a fairy tale in its beginning and its ending.
Along with the organization of the story between beginning and ending is
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multifarious, so it should be an object of a separate study. Let us describe these two
components in more details.
A scholar Toporova distinguishes six (6) different types of beginnings across Bantu
fairy tales: (1a) beginning with temporal semantics, (2a) beginning with spatial
semantics, (3a) narrative beginnings, (4a) beginnings with nominal predicates, (5a)
beginnings with impersonal constructions, (6a) beginnings with locative
constructions (Toporova, 2012).
Beginning with temporal semantics are the most common beginnings in the
analyzed data. Temporal semantics is being encoded with a noun phrases that refers
to remote past in general “once upon a time” or “a point in remote past” one or that
day or year, for example: ko kala „long time ago‟, ituku jimu „one day‟ (Dabida),
awa ekomaki eleko „when time has come to…‟, mokolo mosusu „another day‟
(Lingala), o ka „long time ago‟, vuna ohogo „one day‟ (Akwa), nwaka gumu „year
one‟ (Ngindo).
Beginning with spatial semantics are less common across Bantu fairy tales and
indicate a place as the beginning point of the story, for example: o mboga ohogo „in
one village‟ (Akwa), ɣa ɣata dimosi „in one village‟ (Laadi), muzi ghumu „in a town‟
(Dabida).
Narrative beginnings use the fact of someone‟s existence as the starting point of the
story, for example:
(1a) ba-ibori ba-mwabo mba-renge ba-bere [Gusii]
3PL-PARENT 3PL-THEIR 3PL-BE 3PL-TWO
„There were two parents‟
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(1b) e-la-ag-a mo-mi w-ana na bee b-e [Akwa]
CL9-BE-HAB-FV CL1-MAN CL1-THIS AND CL10-WOMAN
CL2-TWO
„There were a man and two his wives‟
(1c) A-ka-kib-a mu-ndu jumwe [Ngindo]
3SG-PST-LIVE-FV CL1-MAN ONE
„There was a man‟
Beginnings with nominal predicates are not common across Bantu fairy tales with
exception of Kuria. There is of course in Kuria fairy tales they are found quite often
(Toporova, 2012). These beginnings consist of a subject, copula ni or existential
verb and a noun predicate, for example:
(1a) Maisori Waitumbo n‟=u-mu-tururia wa a-ba-kuria [Kuria]
Maisori Waitumbo COP AUG-CL1-HELPER POSS AUG-CL2-
KURIA_PERSON
„Maisori Waitumbo is a Kuria people‟s helper‟
(1b) Ri-tuko ri-a enyangi na-ri-o ri-tuko a-ka-gend-a [Gusii]
CL7-DAY CL7-POSS WEDDING AND-CL7-THAT 3SG-PST-GO-
FV
„Wedding day is that day when [a girl] leaves her house‟
Beginnings with impersonal constructions are common in Northwestern Bantu,
including Akwa and Lingala. This type of beginning consists of existential verbs in
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impersonal form (class 9), followed by the semantic subject (Toporova, 2012), for
example:
(1a) e-la-ag-a mw-ana w-o a-k-ɛndi etog-a [Akwa]
CL9-BE-HAB-FV CL1-WOMAN CL1-THAT 3SG-PST-GO
CATCH_FISH-FV
„There was a woman who went for fishing‟
(1b) e-zalaki tata mo-ko [Akwa]
CL9-LIVE FATHER CL1-ONE
„There lived a father‟
Beginnings with locative constructions are those that open the story with a locative
form of an existential verb (Toporova, 2012); for example:
(1a) pa-ki-b-a mu-ndu u-mwe [Ngindo]
CL16-PST-BE-FV CL1-MAN CL1-ONE
„There was a man‟
(1b) pa-li-kuw-a na m-tu m-moja [Swahili]
CL16-PST-BE-FV WITH CL1-MAN CL1-ONE
„There was a man‟
The other main compositional component is the ending form. In this aspect,
Toporova distinguishes four types of endings: (1a) natural ending, (2a) etiological
ending, (3a) didactical ending, (4a) proverbial ending (Toporova, 2012).
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Virtually the majority of Bantu fairy tales are ending without any moral or
judgment, it means they possess natural ending (Toporova, 2012); for example, uko
niko kutua kwa io mbisi „that was the end of that hyena‟ (Dabida).
Etiological endings are also quite common among Bantu fairy tales. It has noticed
that they are indicators of archaic nature of a given story. Such endings can provide
explanations behind natural phenomena, for example: tuku lumbu kio mbwa na
mbumba bayika batantu „since that day dog and cat are enemies‟ (Laadi).
Didactical endings close a story with an explicit lesson that listeners should draw
from it. Sure enough they are found in lesser extent than etiological and natural
(1/10). In addition, they are very common in those languages that experienced
significant influence from non-Bantu languages and cultures (Toporova, 2012), for
example: sika iso na nyoko „respect your parents‟ (Gusii).
A proverbial ending closes the story with a wise saying that is didactical in its
nature; for example, zobo liboso, mayele nsima „first stupid, then clever and wise
after the event‟ (Lingala).
Hence, many of mentioned phenomena can be tracked on the syntactical level of
Bantu fairy tales although syntax of Bantu fairy tales can be described through a
wider range of its features. At the moment Toporova distinguishes the following
syntactical features of Bantu fairy tales: (1a) high predicativeness, (2a) reduced
predicativeness, (3a) impersonal constructions, (4a) contrastive focus (Toporova,
2012).
High predicativeness is an excessive or redundant use of predicates that can be
tracked on the syntactical level. Certainly, it depicts the fact that Bantu fairy tales
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tend to accommodate verbal tautology and reduplication in general to create artistic
effects (Toporova, 2012), for example:
(1a) lu-kwiri kalolla [ka-ka-loll-a] loll-a kamona [ka-ka-mon-a] ndiri [Pogoro]
CL7- CIVET 3SG-PST-LOOK-FV LOOK-FV 3SG-PST-SEE-FV NOT
„Civet was looking carefully but didn‟t notice anything‟
Reduced predicativeness is the absence of a verb that can be restored from the
context. This usually existential verbs serving as copula are omitted because of
stylistic reasons (Toporova, 2012), for example:
(1a) n-ganga m-ɛni [ni] otsama [Kuria]
9-DOCTOR CL1-THAT [IS] THERMIT.
Impersonal constructions are used when a subject should be omitted because of
stylistic or pragmatic reasons. Likewise, these constructions consist of a verb (more
often existential one) in its impersonal (CL9), locative (CL16, CL17) or 3PL (less
typical) form (Toporova, 2012); for example:
(1a) e-la-ag-a mw-ana w-o a-k-ɛnd-i etog-a [Akwa]
CL9-BE-HAB-FV CL1-WOMAN CL1-THAT 3SG-PST-GO-FV
CATCH_FISH-FV
„There was a woman who went for fishing‟
(Existential verb in its impersonal form CL9)
(1b) pa-li-kuw-a na m-tu m-moja [Swahili]
CL16-PST-BE-FV WITH CL1-MAN CL1-ONE
„There was a man‟
(Existential verb in its locative form CL16)
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(1c) e-bonumu ngala amba Imongi [Akwa]
CL9-BE_VISIBLE SEE BASKET IMONGI
„Imonga‟s basket was visible‟
(Non-existential verb in its impersonal form CL9)
(1d) o m-boga m-ɛni ba-kid-a a-taba [Akwa]
CL18 CL3-VILLAGE CL3-THAT 3PL-SELL-FV 3PL-SHEEP
„In that village there were some sheep to buy‟
Contrastive focus is a syntactical phenomenon that involves the change of word
order in a sentence to highlight a particular word or phrase due to its importance for
the development of the story. As with almost all syntactical elements can be put
focus on them. Either, subjects that are normally expressed by the subject marker are
focused when expressed by personal or demonstrative pronouns (1a), objects are
relocated to the beginning of the sentence with a correlate taking its place in the post
predicate position (object markers or pronouns) (1b), locative and temporal groups
are being relocated to the very beginning of the sentence (1c), predicates are
supplemented by an emphatic particle (1d) (Toporova, 2012), for example:
(1a) beto, kumbu mosi kwa mu tu-tekaka ma-mba [Laadi]
WE TIME ONE WITH YEAR 1PL-FETCH CL6-WATER
„Once a year we fetch water [from the river]‟
(1b) n-tumbu mu lu-kaya ba-na-til-a y-o [Laadi]
CL9-NEEDLE CL18 CL7-LEAF 3PL-PRS-BEAR-FV CL9-THAT
„The needle is being carried in a leaf‟
(1c) n‟=aiga n-de [Gusii]
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PTCP=HERE 1SG-BE
„I am here [and not elsewhere]‟
(1d) Gureta nomoroti [ni o-mo-roti] w-a ba-kuria [Kuria]
GURETA COP AUG-CL1-LITERATE CL1-POSS CL2-KURIA
„It was him, Gureta, who was the most literate among Kuria people‟
Generally, after from linguistic point of view, Bantu fairy tales can be described on
four domains: topics, style and vocabulary, composition, and syntax. Taking in
account based on the topics Bantu fairy tales can be classified into archaic (etiology,
cannibalism, totemic believes, ancestor worship, magical and ritual activities,
marriage between people and animals, spirits, and the cultural hero) and modern, or
elaborated (lack of etiology, totemic believes and ancestor worship as well as lack of
fixed beginnings).
Besides the stylistic effects, narrators of Bantu fairy tales use frequently idiomatic
and vivid expressions, lexical tautology, reduplication, and idiophones. Noteworthy
from the compositional perspective Bantu fairy tales exhibit several types of
beginnings and endings. In doing so, the aspect of beginnings can possess temporal
or spatial semantics, can be narrative in their essence, and can consist of nominal
predicates, impersonal constructions or locative constructions. And in opposite side,
endings can contain etiological explanation, didactical lesson, a proverb that plays
role of didactical lesson. In such view, if an ending does not possess to any of the
mentioned features, it is called a natural ending. Nonetheless, the syntax of Bantu
fairy tales can be described in terms of high or reduced predicativeness,
impersonality and contrastive inversions to mark the focus.
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2.2.5 Concept Terms
Fairy tale refers to the traditional narrations that are narrated by the female elders
for the purpose of giving messages and provide positive morals for their children or
grandchildren (Balisidya, 1977). Extremely, these are stories which are oral
traditional narrations that were received and transpass from generation to generation.
Certainly mostly they take place at night session.
Genre: Hymes (1972) viewed genre as an integral part of the communicative budget
of a community. Hymes added more clarification that genre emerged from speech
events, activities, that are directly governed by rules and norms for the use of
speech. Indeed, it remained the best operationally identified for descriptive and
teaching purposes as a major area of enquiry. Typically, it represents linguistic
realizations that are more useful for social purposes. Moreover, the scholars
Orlikowski and Yates (2002) asserted that genres of organizational communication
can be characterized by similarities in substance (general topics & specific themes),
and forms, in features like: structure, language, medium or symbol. Hence, they
conclude that genres by their socially recognized purpose and by their common
characteristics of form.
Narrator refers to a man who narrates traditional narrations (fairy tales) and
preserves them in a way of making attraction with positive morals and reveals them
to the society through generation to generation (Balisidya, 1977). Using narrator‟s
facial expressions, eyes, mouths, hands, body shaking, noise practices give a chance
to a narrator to express feelings to audience. Even if other materials of the narrator
to provide attraction to the listeners include the voice and tone which carry the real
personality of a character. Additionally, is an accent and utterances that create the
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actual emotional picture of the narrating. In addition, is the act of raising and
lowering of tone and feelings, silence, light, simple, stubborn, scramble, politeness
and the act of ignorant or cleverness with high authority in obedience also are being
acted by a narrator. Further, the narrator uses the aspects of language skills so as to
achieve the goal easily. As a result is to ensure that, the attention of emotions of the
audience.
Narration refers to the fact of using stories and story-telling or writing activities as
instruments for scientific investigation and the technique employed for any kind of
analysis that deals with human experiences (Chincharauli, 2012). Again, they are the
most important means of fixing the meaning of events and the social-cultural
construction of reality. It is easy to form limited stories or accounts made of words,
written on spoken that narratives are precisely the means of the social construction
of reality. At the same time, narratives are a product and result of the social
construction of people experience, since for them they are the only way through
which society can express this experience and make them intelligible.
Communication is a social activity requiring the coodinated efferts of two or more
individuals (Gumperz, 1982). Conversely, it deals with the talk produced sentences
no matter how well formed or elegant the outcome does not by itself constitute
communication.
Communicative genre can be defined as more or less obligatory solutions to
specifically communicative problems (Thomas Luckmann, 1989). While in such
solutions are available in social stock of knowledge in society.
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Conversational analysis can be defined as any kind of organization concerned with
the relative positioning of utterances or actions (E. A. Schegloff, 2007). Besides, an
action can be accomplished itself by narrating and get done in turns at a story or
fairy tale. It has noticed that the main features are interactions. From these may
include the act of asking, answering, agreeing and dis-agreeing, and offering,
contesting, requesting, teasing, finessing, complying, performing, noticing,
promising and other activities alike.
Discourse refers to the interactive process of conveying ideas (including) the
coordinative discourse among policy actors and the communicative discourse
between political actors and the public (Schmidt, 2008).
2.2.6 Theoretical Framework
2.2.6.1 Introduction
In the previous sections, we have seen that there are several approaches to study
Bantu fairy tales (folklore, literature, linguistics), but neither of them covers the
interactional aspect of fairy tales. In such view interaction is crucial for these kinds
of narratives because they are being constructed as talk-in-interaction that happens
between a narrator and listeners. Even the linguistic approach refuses to analyse the
interactional domain of Bantu fairy tales while addressing them explicitly as text
types and not speech type (Toporova, 2012). So far, in this work, the author tries to
cover this research gap while addressing the interactional nature of Bantu fairy tales.
For doing, so the author needs first to introduce the theory of communicative genre
that will enable the researcher to integrate the socio-linguistic knowledge about
Bantu fairy tales and to describe the interactional nature of this kind of narrations.
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2.2.6.2 The Theory of Communicative Genres
Communicative genre can be defined as a term operates on a level between the
socially constructed and transmitted codes of natural languages and the reciprocal
adjustment of perspectives, which is a presupposition for human communicative
interaction (Bergmann & Luckmann, 1995). Again, the co-participants regard the
status of categorization of a speaker, hearer and audience which denotes the
interactional categories. Either, the speaker is the one who produces (encodes)
communicative contributions. At the same time, the hearer is similarly who
interprets (decodes) in communicative contributions. While the audience on the
other hand interpret decodes to the communicative contributions. From this
therefore, it focuses on unmarked form. Namely, face to face interaction. In this
matter, the specific function of communicative genres as socially constructed
solutions. These may organize, routinize, and standardize the dealing with particular
communicative problems; whichever it seems quite obvious that different cultures in
society may construct different communicative solutions for specific communicative
problems exist in society.
Moreover, in this context whereas in one culture there may be existed to the generic
ways of handling particular communicative activities in another culture. Also the
interactant may use spontaneous forms too instead. Thus, the repertoire of
communicative genres actually varies from one culture to another culture as well as
from one epoch to another epoch. Likely, communicative genre is sometimes used
as more or less obligatory solutions to specifically communicative problems
(Thomas Luckmann, 1989). While in such solutions are only available in social
stock of knowledge from the culture.
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In turn, in this theory, a study was described using the intermediate structural level.
Indeed, the theory has directly linked to linguistic structures which are serving as the
material base for the social transmission of knowledge from one generation to
another. Whether, this level is organized to the principles which refer to
communicative genres. Thoroughly, they are connected to linguistic aspects, code-
related and social acts and structures that are related in determination of
communicative processes. Further, it is characterized by social modelling and key
features of communicative acts (Bergmann & Luckmann, 1995).
Hence, this theory on the other side was very suitable in this study because it gave
out the analysis of communication in interactional way. Crucially, the elementary
function of communicative genre in social life is to organize, routinize, and render
the obligatory solutions to recurrent communicative problems (Bergmann &
Luckmann, 1995). Extremely, the analysis of communicative genres allow not only
for the genre description and explanation of certain communicative activities in
detail, but rather by initializing establishing an essential analytic link between
speaking and narrating. The real activities are based ongoing interaction, the socio-
cultural context and the communicative budget (including communicative norms,
expectations and ideologies) of a particular culture.
Gradually, Bakhtin (1979), has a perspective on communicative genres claimed that;
they do not appear as complex language structures devoid of the dynamics of
interaction, but rather it exists as interactive patterns of speech. He added more that
the communicative genres do not only guide the activities in verbal interaction but
also it takes a part on the ideologies of social groups. Bakhtin concluded that:-
“There is no communication outside of genres”.
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Gulich and- Quasthoff (1986) argued that communicative genres are becoming
increasingly accepted in linguistic analysis of discourse. The like, this acceptance is
paralleled by a new methodological orientation instead of taking oral genres as
monological static texts. Because of fairy tales are two way communications
between a narrator and a listener, so it is very important to use this theory.
Thereafter, fairy tales were analyzed in the process of their interactive production,
that is, within their conversational and socio-cultural context. A part of
communicative genres filled the important functions with respect to the coping with,
the transmission and traditionalization of inter-subjective experiences of the life
world (Gulich & Quasthoff, 1986). On the one hand, they facilitate the transmission
of knowledge by guiding the interactant‟s expectations about what is to be said and
to be done, As Luckmann (1992), points out:
“The use of genres is normally linked to clearly defined types of social
situations. A given genre may never appear in one type of
communicative situation, rather in another frequently in still another,
and always in some. From the point of view of the actor's knowledge
there may be situations in which he or she is forced to use a particular
communicative genre.”
In the most general idea is a communicative theory in social context conceived as a
presupposed, given and also interactional organized which is perhaps reflected in the
research paradigms of conversational analysis (E. Schegloff, 1991). Normally, the
social action is, therefore, dependent on context, utterances in the field of
conversation analysis and communicative acts in the field of socio-pragmatics which
represent linguistic context. The moment of the produced language is formulated,
created and interpreted (decoded) by the co-participants is assigned as a dual
function.
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After all, according to Heritage (2009), the production of talk is doubly contextual.
Normally, an utterance relies upon the existing context for its production and
interpretation perhaps its own right to shape the event to a new context for the action
that follows after. Language use is necessarily based on a speech situation, co-
participants and language role. To bear in mind, the social action in linguistic
context comprises a communicative contribution‟s adjacent utterances or turn‟s
adjacent turns. Either it is conceived as delimited by the contextual constrains and
requirements of a communicative genre (Bergmann & Luckmann, 1995).
Though, this theory is very important due to, within the internal structure is
characterized by the fact that an actor is providing the fixed communicative
(Bergmann & Luckmann, 1995). Meanwhile, the theory provides the direct linked
between with the linguistic structures serving as material base for social
transmission of knowledge and the other is determination of social modelling and
key features of communicative acts.
The analysis of communicative genres allows the description and explanation of
certain societal communicative activities in detail. Either, this applies in establishing
an essential analytic link between speaking activities in on going interaction. It,
therefore, also entered the sociocultural context and the communicative budget, i.e
communicative norms and traditions expectations and ideologies of a particular
culture. The analysis in communicative genres can take place in different
communicative forms, ranging from fixed patterns which are characterized by
specific structural elements like: model particles, extreme case formulations, and
extreme fluctuations in pitch contour, falling intonation at the end of the utterance
and so forth.
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Further, communicative genres are not considered to be static products, described in
structural features only rather they constructed within communicative actions. They
include actors‟s voices, relationship among the participants, the sequential
organization, the cultural context as well as its dramatogic structure (Abrahams,
1976). The level of analysis in communicative genres is based on internal structure,
framing and external structure.
Within internal structure contains a verbal and prosodic, kinetic features which
characterized by single and individual utterances or shorter and lower sequences of
utterances. In prosodic features are loudness, tempo, pausing, intonation, rhythm,
accent placement. It adds more on expressing signs, mimic, and gesticulatory
elements. Lexicosemantic elements are like: vocabularies and new terms, archaic
terms, euphemisms or derogatory words, modality markers and specific particles. A
part from that there is also a morphosyntactic device which is contained things such
as: question formats, specific word order phenomenon, imperatives, passive
constructions, specific conjunctions and coordinators or discourse markers as well as
phonological devices that may function as an element of a particular genre.
In other side is a linguistic variety or code on the features like: citations, dialogism
and an indirect speech. This may be divided more categories into jargon, dialect,
sociolect, and the other side that based on situational in register (frozen style formal,
consultative, informal or intimate register.
The other patterning forms include stylistic and rhetoric figures. Virtually this
concerns with the way of how words are combined and worked: i.e asyndeton,
deleted (ellipsis and aposiopese) it also added the other parts such as: (accumulation,
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amplification, gradation), positioned (parallelism, chiasm) and eventually is the use
of metaphors, metonymies, hyperboles and other stylistic (litotes, emphasis and
symbol), sound figures (anaphora, epiphora, onomatopoeia forms) (Miiller, 1989).
Communicative genres are also revealing more folk aesthetic principles. These
include things such as: the wide range of stylistic devices, i.e rhyme patterns,
melodic contours, the use of rhetoric figures, a particular vocabularies and terms and
archaic syntactic modes.
Framing refers to the specific interactive modality (E. Goffman, 1983). In
communicative genres, it contains fictional, ironic, playful, irreals (realistic) as
further structural features on internal structure. In additional, its interactive modality
is together with the production of format, i.e speaker‟s relation to their utterances as
animators‟ reproducers of utterances. Keppler (1985) mshowed how the media
genres work i.e news is characterized by a specific combination of verbal, visual and
sound elements.
Further, the other is a situative level of communicative genres. This extremely is
concerning with the internactive context of the speaker or narrator based on
dialogues of utterances between multiple participants. It comprises the ritual
phenomenon like: (opening and determination of interactive contacts, greeting and
farewells, rituals of inviting, accepting and so forth (Erving Goffmann, 1981). These
rituals its features are concerning with the interactive organization of conversation.
Either, they can be described as patterns of turn- taking, pair sequences (adjacency
pairs, as questions and answers, summons and responses). (E. Goffman, 1983) added
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more that the situative structure is including with the participation framework,
longer streches of talk and non-linguistic environment of the social situation.
Participation framework constitutes a production format and participation status with
several turns. Turn is the fundamental unit of description in conversation analysis.
So long as it is the length of time a speaker holds the floor (Jupp, 2006).
Another is a longer stretch of communicative sequences which is providing the
situational co-text of the single and individual utterances and their sequencing.
Later, it refers to the relation of the speaker to the proposition communicated or to
the figure portrayed. In contrast, the participation status is the process of portraying
and showing the relation between the communicating participants and their
utterances provided: example; a speaker and a listener, a narrator and audience and
so forth.
Meanwhile, non-linguistic and social arrangements are also a part of it. The socio-
spatial and temporal arrangements of interactants are with the action patterns
accompanying speaking. Hence, the social occasion can be defined as formal
structured and or even institutionalized actions that are bounded in a perculiar space
and time. Example: public challenges and direct criticism meetings. Besides, the
non-verbal way refers to the actual use of actions in silent mode that indicates minds
and desires. Like: sitting and standing, forced smiles, frequently words of heads and
the existence of no responding.
The last one is external structure, it contains with communicative milieus,
communicative situations, selection of types of actors and the institutional
distribution of genres (T. Luckmann, 1992). It includes features such as: the
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families, womens‟ cliques that can be characterized by the fact that a group of
communicative actors (audience) participate in recurring social occasions, repertoire
of speaking practices and communicative genres. Henceforth, the legal procedures
are relying on communicative competence for the aim of producing stories and
make them plausible through identifying central story lines or portraying their
relationship to symbolic relations in a consistent way and the rest is allowing a test
of descriptive adequacy (Bennett, 1979).
2.2.6.3 The Theory of Conversational Analysis
The external structure of a communicative genre can be described in terms of
literature and folklore studies. That is why we used these approaches as outlined in
the corresponding sections in this chapter. Nonetheless, but the description of
situative level requires the author to introduce an appropriate approach that allows
her to analyse the interactional features of fairy tales. This approach is called
conversational analysis.
The study was guided by two theories that is; conversational analysis and
communicative genre theories. Conversational analysis refers to any kind of
organization which concerns with the relative positioning of utterances or actions (E.
A. Schegloff, 2007). The theory can be analyzed through the case of interactional
structure. Interactional defined by Goffmann (1957), as a normatively organized
structure of attention. He added more that when people interact is attending to one
another‟s attention. Of course, it is to show how the language is used to describe the
structure of the certain genre, and how people interact in communicating each other
to narrate the stories. Even more is to look on the interactional logical of Gogo
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people and how are they happened to both two a narrator (speaker) and listener
(audience).
Obviously, other aspects include of, turn taking, different types of utterances and
turn constructional units (TCU‟S). in the remarkable of this the Sequences are
vehicle for getting some activities done and accomplished. Yet, the analysis of
conversational sequences can lead and cause to the question of, how 'long' for
interaction sequence modes are intertwined. The important thing in talking is
monitoring of actions and other language features that investigated. The
conversational analysis is a set of methods for working with audio and video
recordings of talk and social interaction (Chipalo, 2012). Besides, a conversational
analysis theory refers to an approach way and system to the study of social
interaction which based on embracing both verbal and non-verbal conducting ways
in different situations of everyday life in society.
Basically, the intention of using interaction in conversational analysis is to maintain
the social relationship of the speakers, narrators or other communicators. A hearer
can have an ability to feel that he or she has an acquiring the participation of closely
partner in talking. Good examples are: greetings, fairy tales narrating, and
agreements between members.
Examples: (agreement of members),
A: I will make a dinner for you
B: Ooh, Thank you!
This conversation is allocating the interaction and the social relationship between the
speakers on the matter of speaking and particular responses‟ patterns between them.
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This is an example from a narration:
Narrator: “…I couldn‟t believe it; I was so tortured, discriminated, wrapped up in
my thoughts about the current matter. However, in a very shook, hurry and bad
unpredictable memories in my head……..
Listener: yeah, sure ok! Oooh! Very sorry! then smiled with jokes sympathy” (Fairy
tale narrating act).
The interaction maintains a mutual attention among the parties that are involved in
conversation. Either the transition from one turn to another exists in a very soft way
governed by pauses and synchronization uses between speakers and members in
talk.
Thus, in the light of this remarkable, the researcher chose this theory because it
provides the imaginary looking which views understanding of the problem. It also
was provided the guidelines for explaining the attribution of problems and the direct
linking mechanisms that connect to the variables. In fact, the basic of this
investigation is aligned to linguistic study on an interactional structure and how
people interact with communication each other in narrating fairy tales.
The assumption is that, in order to investigate interactional logical of Gogo people
on how happened to both two of a listener and a narrator in fairy tales. Therefore,
the theory has provided advantageous use to the study.
In this remarkable generally, fairy tales have been analyzed as folklore and literature
genres, however, there are some linguistic analysis of the language used in fairy
tales rather there are not existing of any works that were analyzed them from the
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interactional perspective. For being so, that is why they are interactive in their
essence. Slightly, this is a research gap that can be filled using this related study.
Indeed, in order to close this gap a researcher had analyzed Gogo fairy tales as a
communicative genre under the aspects of linguistically and structural features.
2.2.7 Concluding Remarks
The recent chapter has been completed by introduction and literature review issues
that are considered in the study. These include:- the concept, meaning and the
importance of the fairy tales, followed by fairy tales as folklore genre. Additionally,
it is fairy tales as literary genre, similarly fairy tales as an object of linguistic studies,
ending with the concept terms. It is obvious that the fairy tales play a crucial role in
our societies and daily life, as a communicative genre in any society. As the studies
showed above that the genre is a vital tool used to solve problems in societies.
In other case, it is about the theoretical frame work, its introduction, and the two
theories of communicative genres and conversational one. Again, all these theories
have been discussed in detail. Nonetheless, the chapter has covered all aspects of
identification of conversational analysis in spoken genres. In addition, the chapter is
completed with the concluding remarks of the study.
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CHAPTER THREE
RESEARCH METHODOLOGY
3.1 Introduction
This section outlines the methodology used to collect and analyze data for this study
on fairy tales of Gogo language. The chapter also explains the area where the study
was conducted along with the research approach used. The chapter also explains the
data collection and techniques and the sample used to get the actual information,
and, finally, it explains the data analysis process.
3.2 Research Design
To study the Gogo fairy tales the researcher adopted an exploratory mixed method
design. According to Creswell (2009), an exploratory mixed method design requires
the researcher to gather qualitative data at the first stage so as to explore the
phenomenon under the study, throughout, the collection of qualitative data.
Therefore, in the first stage, the researcher collected qualitative data from Gogo
community. The informants used were the Gogo people who lived at Hombolo
Village. In doing this, the researcher recorded the Gogo fairy tales as spoken data.
The data were then disseminated, coded and prepared well for the analysis process.
Adequate support was provided to ensure that data were clear and well preserved.
The support from the other people who are Gogo natives determined the actual and
truth of the data.
In the second stage, the qualitative data on Gogo fairy tales were translated (from
Gogo language to Swahili). This was done with the help of a Gogo native speaker
since the researcher is a non-native speaker of the language.
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3.3 Area of the Study
The study was conducted in rural area of Gogo speaking community in Dodoma
Region. The study was carried out in a village called Hombolo, which is located in
Dodoma Municipality. The village was chosen because it is inhabited by many Gogo
native speakers said to be speaking pure Gogo language contrary to many other
areas of Dodoma Region. They are ordinary speakers who understand in depth the
real history and past events of societies. Therefore, this was a suitable area for
conducting this actual field work.
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Figure 3. 1: Administrative Division of Tanzania
Source: (The Political map of Tanzania (2012), http://www.maps of
world.com/Tanzania/Tanzania-political-map.html).
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Figure 3. 2: Dodoma Region (Source: www.maphill.com Tanzania 2011).
3.4 Sample Size and Sample Procedures
Kothari, (2004) defines sample as a small group of respondents drawn from a
population about which a researcher is interested in getting the information so as to
arrive at a conclusion. Sure enough, the sample size refers to the selected number of
respondents chosen from the entire population. While a sampling procedure can be
explained as the process involved in getting the sample respondents from the
population.
This study used a purposive sampling to generate the required data. It involved
mostly elders since these were hoped to be speaking Gogo language accurately. Ten
(10) informants were used in this study that is two (02) males and eight (08) females.
There is imbalanced gender representation following the fact that, women are able to
narrate much rather than men. Also, most women could be found at home than it was
for men and also because women predominantly take care of families.
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Table 3. 1: The sample of Dodoma Area
Name of area Number of Informants
Males Females
Hombolo 2 8
Total 10
3.4.1 Purposive Sampling
In this study, purposive sampling technique was employed to get the informants.
Purposive sampling represents a non-probability sampling techniques (Rai, 2004).
Sometimes, it is known as judgmental, selective or subjective sampling, as it relies
on the judgement of the researcher when it comes to selecting the units, such as:-
people, cases or organisations, events, or pieces of data that are to be studied.
Generally, the sample being investigated is quite small, especially when compared to
probability sampling techniques. The researcher selected a small mass in a huge
group of informants (population), each individual was chosen entirely by chance.
The identification of the respondents was based on ages, ability to speak the
language, , competences and local users of Gogo language.
3.4.2 Research Instruments
The process of collecting the primary and secondary data was done under the
following instruments. A digital camera, tape recorder, note-books, mp3, tablet, and
a cell phone. These were used to record conversational session of fairy tales. Again,
question papers, pens, pencils, and the like were also used for taking notes.
Sometimes, candle and battery lights were used when the interviews were done
during the night hours.
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3.5 Techniques and Methods of Data Collection
The study used the primary and secondary sources of collecting data. To a higher
degree, the researcher used methods like conversational analysis, questions and
answers method, direct elicitation (recording), taking movies, observation and the
use of intermediary language to target language.
3.5.1 Primary Data
The primary data were obtained directly from the field. The primary data are those
which are collected afresh and for the first time, and thus happen to be original in
character (Kothari, 2004). Regarding the act of collecting these data, the researcher
used elicitation techniques; i.e. interviews, Focus Group Discussion and observation.
Quite often, these were simplified to gather knowledge, skills and information from
the people.
3.5.1.1 Interviews
The researcher, in this study, used semi-structured interviews to generate data.
Kombo and Tromp (2006) have clarified the semi-structured interview as an
interview which is a list of questions or topics to be covered by the interview. This
study used in-depth interview (semi structured interview). The researcher used this
convenient method because of availability of sufficient information about the study.
Using it, the study could reach areas of reality that accessible are, like:- people‟s
subjective experiences and attitude of narrating.
Also, it is a way which it provides the reliable data and accessibility to primary data
from the respondents (Silverman, 2001). The prepared questions were based on the
objectives of the study. They were presented by the same wording and the same
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order for the purpose of administering a relative analysis and understand meaning
clearly. The researcher guided the discussion, then; she took notes and gave the
assistant the recording device to record. The questions asked sought to get
informantion about the fairy tales of Gogo society, and informants were asked to
narrate at least two (2) Gogo fairy tales. Also, informants were asked to say the
importance of fairy tales for Gogo young generations and why fairy tales are not
working nowadays in Gogo community. Answers to all these questions were useful
data for this study.
3.5.1.2 Focused Group Discussion (FGDs)
Focused Group Discussion refers to a group interview that relies not only on a
question and answer format of interview but also on the interaction within the group
(Morgan, 1995 cited in Mertens, 1998). The (F-G-D) session offered the freedom of
expression to the participants toward the objectives of the study. The researcher held
had five groups of informants in the FGDs. Each group consisted of five (5) peoples.
The F-G-D sessions held with elders aged sixty and above (2 males and 3 females).
Kombo and Tromp (2006) assert that in Focus Group Discussion, the researcher has
a specific topic to be discussed. Thus, the researcher had prepared five (5) guided
questions for informants‟ to discuss in the groups. These discussions provided a
wide coverage of themes that informed the study. In particular, the discussions
sought to know the fairy tales helped to ensure the morals of the Gogo community
and hwo they support them. The discussions also sought to know the informants
opinions toward improving the current situation.
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3.5.1.3 Observations
Observation is a method of collecting data directly from the client of the research. It
is a way of gathering information or data by watching behaviours, events or noting
physical the characteristics in their natural setting (Martins, Affonso, Tamayo,
Lamouri, & Ngayo, 2015). In this study covert observations were made to give
people the chance of behaving natural. From this, the data obtained in observation
method were more accurate, consistent and high quality due to they were collected
from the physical environment. The researcher determined the focus; considered
evaluation questions and selection in sight with planning of critical schedule of
sequences of events.
3.5.1.4 Audio Visual Recording
The present study used Audio Visual Recording (AVR) as primary method of data
collection. This is the most and appropriate method because the study aimed at
doing the analysis of spoken data. The method served several purposes due to the
process of transcription of spoken data. This was done to compare the fairy tales
collected in different areas from different people. Through this, the researcher made
clarifications and corrections in some areas. This includes the translation from a
researcher interpreter for Gogo and Swahili languages. In doing so, it helped to give
out more valid data of the study.
3.5.2 Secondary Data
The secondary data were collected from numerous literatures and sources of
knowledge. The secondary data, on the other hand, are those which have already
been collected by someone else and which have already been passed through the
statistical process (Kothari, 2004). In doing this, the researcher consulted books,
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dissertations, journals, articles, and websites. However, the availability of materials
seems to be a very difficult thing due to the problem of relevant studies done for this
language.
3.5.3 Data Analysis Procedures
In this study, data analysis was carried out after completing the data collection
process. The study used the qualitative technique of analyzing data. The data
gathered in the study through interviews and open and closed ended items were
interpreted qualitatively. Again, the researcher put together all data (assembling
data), refined them and later she categorized them in more logical groups (coding
data). The number of respondents, frequency of their responses and percentages
computed to have the significant value for discussion.
After the researcher assigned the meanings and interpreted the data, in fact, she
discussed and wrote a report about the outcome (building of the meaning assigned),
the results presented as a description on this study. The analysis entailed three basic
steps. Step one was to work with transcriptions, recording and voice mode that
contained the fairy tales‟ information. Substantially, a step two was about the
process of making analysis of the data gathered from the selected methods. These
specifically involved the process of identifying and classifying data with their
relationship with the objectives of the study. The last step was to formulate the
general observation and summarization of the findings. Moreover, conversational
analysis refers to any kind of organization which is concerneds with the relative
positioning of utterances or actions (E. A. Schegloff, 2007). This theory can be used
due to it explains much about the case of interactional structure. The term
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interactional can be defined by Goffmann (E. Goffmann, 1957) as a normatively
organized structure of attention.
The data collected through in-depth interview and Focused Group Discussion (FGD)
re presented through pie charts, tables and simple bar graphs. In addition, the
information that discovered and revealed from the collection discussed and
presented through descriptions, simple statistics, summary and conclusions.
3.5.4 Concluding Remarks
The chapter has informed about the methodological issues considered in the study.
The more likely it has explained about the area of the study; the research design as
well as sampling procedures that were employed in conducting the study. Also, the
chapter informs about the data collection instruments and data analysis procedures.
Generally, the data collection methods contained the interviews, F-G-D, observation
and Audio Visual Recording approaches from the study.
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CHAPTER FOUR
DATA PRESENTATION, ANALYSIS AND DISCUSSION
4.1 Introduction
The chapter presents the data collected in the field through the digital Audio Visual
Recording. This work constituted the natural occurring interaction. Meaning of the
narratives are written and transcribed as spoken data. Focusing on the objectives of
the study, the researcher did a collection of the fairy tales in Gogo language, and
then created a data base of Gogo fairy tales, Through drawing extensively from the
theory of communicative genres and lastly, she analyzed the linguistic and structural
communicative features of Gogo fairy tales. The study involved ten elders who were
sampled from the people who lived at Hombolo village in Dodoma Region.
The chapter is organized in four sections. The first section gives the introduction and
the second part is about the collection and creation of data base recognized from the
respondents. The third section provides the presentation of findings with the
linguistic and structural analysis. The last section is about the summary of the whole
chapter.
The findings and the presentation are organized in three (3) main themes
(categories). Of course, they are based on the analysis of data (transcriptive format),
the analysis of the objectives and questions of the study. To point them again, these
are centred on the collection of Gogo fairy tales, creation of the data base of Gogo
fairy tales, an overview of the theory of communicative genres and the analysis of
the linguistic and structural communicative features of Gogo fairy tales. All these
objectives are synthesized from the main objective and questions set to guide the
study.
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The chapter includes the segments and characteristic criteria and techniques in
which Gogo community uses language in narrating fairy tales to their generations.
To provide more insight, they are based on narrative words, fillers, initiations and
closing remarks and other parentheses of linguistic analysis. The study implies
several parameters of the qualitative productive analysis. These either they may be
applied through segmenting and its characteristics of fairy tales. Because of fairy
tales are like any other aspect of communicative genres, so far there are two way
communications between a narrator and a listener, thus, it is very important to use
this theory. Due to it bases on organization of the levels of communicative genres,
namely:- external structure, internal structure and situative level. Eventually, the
chapter was ended with the concluding remarks.
4.2 Data Presentation
The data in this study are in the form of narrations. Indeed they comprise a total
number about eleven (11) fairy tales. Which are in the form of Gogo language with
transcriptions based on structural and linguistic features analysis. In doing so, the
data were analyzed in terms of linguistic and structural features using Bergman and
Luckmann (1995) analytical framework which is focused directly to the linked of
intermediate level which is directly linked to the linguistic structures. They are
viewed in terms of the linguistic and structural form of a language used. It is also
based on how the Bantu people, especially the Gogo society used language in the
context of narrations (fairy tales) and how its language is structured for.
Additionally, the analysis of fairy tales in this study is based on the structural
elements. Nonetheless, structurally, the communicative genre theory can be
explained as a complex communicative ruled pattern of elements which can be
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analysed on the location of three different structural levels. The levels are: - the
internal structure, the situative structure and the external structure. The notion of
structure refers to the scientific reconstruction of first order constructs (Schutz,
1962).
Notwithstanding, in this study of Gogo fairy tales as an aspect of communicative
genres can be operated on those mentioned levels. Additionally, they are between
the social constructed and transmitted codes of natural languages and the reciprocal
adjustment of perspectives, which is a pre-supposition for human communicative
interaction. So the co-participants (audience) regard the status of categorization of a
narrator, hearers (audience) which denote the interactional categories. Either, a Gogo
narrator is the one who produces (encodes) communicative contributions, at the
same time, the hearers (the audience) interprete (decode) communicative
contributions. In doing so, this format focuses on unmarked form of a face to face
interaction.
4.3 Characteristics of Gogo Fairy Tales as Folklore Genre
Gogo fairy tales have similar characteristics as other societies‟s tales around the
world. Either, the main characteristic features of these fairy tales are: firstly, they are
frequently, characterized by having stretches of talk with the sequences in practices.
Analysis in talking is just a way of showing the speakers‟ understanding and is being
relevant in narrations and creating prior turn in possible questions. Then, they
actually contain a certain contour of beginning, (There was once on a time!), middle
and ending, (They cried aloud “the wolf is dead! The wolf is dead! And they danced
for a joy round about the well with their mother). Merely, these are things like:-
greeting-greeting between a narrator and audience (children). A specific
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crystallization for Gogo fairy tales that interplays is multiple structures which are
based on fundamental sequences. In addition, the Gogo fairy tales are accompanied
by attractive songs which have tones, rhythm, good morals, prohibitions and norms
for Gogo society.
Further, normally they are very short with the messages which are frightening to
hear. Most Gogo fairy tales contain the feature of happines and the lessons that are
crucial in the culture and society at large. Also, Gogo fairy tales are set to focus on
the past events, defined good and bad characters. They define the important things,
relevant people‟s events, critical problems, climax and resolutions.
Besides, another characteristic of Gogo fairy tales is containing with the feature of
unhappiness initiation and happy ending ever. They are shaped by the interaction of
orality and altered throughout the world by the words from the mouth. Sometimes, a
narrator asks questions that invite more and much hearing with attention. Another,
characteristic of Gogo fairy tales is that they are based on children‟s interests, sense
of life, binding in a Gogo culture, ending surprised, sense of impression, wonders,
mystery, magic, the spirit of wonders, adventures, success, abstract actions,
imaginative, animal characters, based on betrayal of human relations and unity of
effects.
Regarding this, fairy tales have endless amount of possibility. They are full of
wonders and magic hope that they make people to believe that the best can actually
happen. Therefore, extremely, all of these features are observed in communicative
genres of Gogo fairy tales.
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4.4 Data Presentation and Analysis
The way people communicate depends a lot on the culture of which society they
come from. Gogo community interacts by using minimal assumptions about one
another. Language in interaction comes in a sequence and turns. Each turn has an
implication for the next one. Besides, a concept of the communication in Gogo fairy
tales occurs when a speaker or narrator narrates the story with actions for the
intention of influencing the mind of the audience (listeners).
This study started with the collection of fairy tales then data processing and sorted
them. The analysis of raw data helped in obtaining the information from its nature.
Along with, the presentation of these data using descriptive modal helped in adding
accuracy, set of facts and quicker understanding. In this matter the process of
breaking down of raw data into different components can be analyzed and obtained
the useful information. From this information the users can be done through the
theories. After processing and organized the data a researcher had generated
linguistic analysis of ongoing flow of communication in Gogo fairy tales in order to
understand and provide the accurate results of the findings.
Working over the different fairy tales a researcher has chosen to concentrate on
communicative genre and conversational analysis in doing the analysis features of
spoken data based on transcription. It is concerning with the longer strech of
utterances. Obviously the transcription is allocating clearly using some features that
are involved in the way of how words are said, are they either pronounced with low
tone, high tone, softly, loudly, high pitch patterns which start with the high and ends
with low or vice versa. The more likely it concentrates in voice quality which is
either has creaky or specific breathy.
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4.4.1 The Internal Structure of Gogo Fairy Tales
4.4.1.1 Verbal, Prosodic and Kinetic Features
This study used the internal structure which consists of verbal, prosodic and kinetic
features. These included loudness, tempo, pausing, and intonation unit, duration of
long words, rhythm, accent placement, and features of voice quality. Since, the
prosodic and kinetic features play a very fundamental role in conveying feelings,
emotions and speaker‟s attitudes in human communication. Noteworthy good and
the most affects are shown in tone of voice which entails features of voice quality
which include perceived loudness of the voice of up and down pitch and temporal
factors for speaking rate.
Often, the most noticeable feature is loudness; this refers to the changes of loudness
within one syllable or the relative loudness of a number of successive syllables
(Cruttenden & Kuhlen, 1986). This actually depends on amplitude of the sound
wave involved. It is perceived by listener and related through breath-force which a
speaker uses in vowels and consonants. The Gogo fairy tales applied loudness in its
narrations along with it creates a very vital cue in listening for high activations
affects. Such as in N2, N3 and N1;
N2, mmm hono=wakikala=hagwe↑(0.2)
N3, zindege=sasa↑zoseee↑
N1, mii=yangu↑(.) A;a;↑(.)nhuku;yakabita(.) =mii=yangu↑(.)msin‟ganiwajililaa↑(.)
Besides, tempo tracking is an essential tool roles for task for many user‟s
applications, such as: musical analysis, automatic rhythm alignment of multiple
musical instruments, cut and paste operations in audio editing, beat driven special
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effects. Tempo can be defined as an underlying regular sequence of pulses that
coincides with the flow of music (Tzanetakis, 2002). These are sequences of human
foot tapping when one listens to music.
It is similarly a component of prosody. Whenever a narrator uses the tempo, he/she
allows his her listener to track the intended message easily. The tempo varies
according to the person. In this matter, it might happen rapidly or slowly. Pausing is
a tool which is used strategically to build intellectual and emotional connection to
the audience. The listeners get a chance to process and manipulate the message. The
following Gogo fairy tales suffice to illustrate this:
In N1, yalondola=sin‟gani=sikijeela(0.2)(pause)iMwewe;=akabita(.)mii=yangu ↑(.)
/A;a;↑(.), N2 and N4;
(Audience asked)[( )]bibii↗mango=yolo=yayidinda?↗aaa:wapi,~
Intonation: this is a stretch of speech patterns uttered under a single coherent
intonation contour. Actually, it is used to indicate and emphasis that the story is
reaching in a certain position. It may be at the end or short pause. The effect of
intonation is to capture the attention of auditory alarms of spoken utterances and the
repetition of tone. The following are examples of Gogo fairy tales that justify the
effect of intonation:
In N4, bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-
iitenkuno=li:gwee[( )]iiii↑(.)hodu=kohi::gwei=akulee↗=-kutamaSWani(0.5)//
mmm//(())iiiii↗
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N5,:=inyi=nasiya(.) mmm yakamleta=ilye=akamsola=ng‟ombe=yakamTo:a =kuly
e=we↗=weyi::↗=yawo=likaliya=AO(.)
N7,
nicalisina=alafu=munanii::=nayo(.)cilikuluta=dulye=kulimba=bacua=lilye(.)aaaaa↗
= eeeee↗
Besides, rhythm is the instrument that is used to measure the flow of words, phrases
and sentences in a story or prose. Of course, this can be determined by the relation
of long and short stressed and unstressed syllables. Again, rhythm is the product of
interaction between a numbers of low-level prosodic features contained in mode.
These including: loudness of particular phonemes as well as syllables; duration of
phonemes, syllables and silence; and the temporal offset between the high or low of
a pitch target accent and the onset of the syllable‟s vowel (Michelle, 1998). It is a
powerful medium to stimulate communication and social interactions. The effect of
rhythm in in Gogo fairy tales can result in clapping, dancing, singing and so forth. It
is a catalyst to positive affect, in social bonding, cooperation and mediation in
communication. On the other side, accent placement refers to the part of the phrase
which is perceived as stressed as a result in pitch change which usually co-occurs
with a change in volume (John & Norine, 1993). Perhaps, it applies on quality of
voice, pronunciation of words, distinction in vowels use, consonants, stress and
prosody. Narrators in Gogo community seem to have their own accent which
enables to understand each other as native speakers. The information allocates their
ethnicity. Evidenced from extract N3,- N4,
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hukeaji muaje?//eeeeh//=laanate=wiobote// //eeeeh//sungura=mutamwa=niko=
yayahehe[ ],
hukeaji muaje?//eeeeh//=laanate=wiobote// //eeeeh//sungura=mutamwa= niko=
yayahehe[ ]
Features of voice quality: Trask (1996) defined as the characteristic auditory
coloring of an individual‟s voice, derived from a variety of laryngeal and
supralaryngeal features and running continuously through the individual‟s speech.
The process of providing distinction in tone speech sounds during narrating yields a
particular message. From Gogo narrations can be seen in N3,
={(hh)}=ukate=mwana=wenu=yafa:(0.5)eee=yafwa:://mmm//(())hodu=ayiii↑(.) .
4.4.1.1.1 Patterns of Raising and Falling Utterances
In fairy tales, the vital information in general overview of the theory of
communicative genre is worthily carried out in narrator‟s intonation contours, pitch
and tone. This normally provides a full picture of useful representation of linguistic
features of the Bantu fairy tales, specifically those of the Gogo.
Narrating the fairy tales is an attitude of a narrator towards a subjective to audience.
This implies to a central theme and subject matter that manifests in attitudes. The
manner of a narrator to achieve this is the composition of tones, short phrases with
falling and raising at the end of utterances. Tone generally is conveyed to the choice
of words, they may be formal, informal, serious, sarcastic, sad, cheerful, and so
many attitudes. Either, the narrator keeps a pause, raise or lower the sound system
once he arrives at the end of a turn, sentence or phrase and if he is still wants to
continue to the other part. From that view and pause of the narrator argued that a
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story has reached the end or continue by giving out the clear indication of the related
discourse.
In fact, intonation is the frequently use of extra stress to mark the focus of a word,
phrase and sentence pattern. There are two basics of them, namely; falling and
raising intonations. In addition, falling works to ask and giving information in
normal, quiet, unemphatic style. In contrary, the raising intonation can express a
number of numerous emotions, non-finality, surprise, doubt, politeness, interests,
lack of confidence. In Gogo fairy tales, narrators use all these features in the
following extracts:
N11,
yikuchanya(.)//mmm//letehiii::=pandeee↑(.)//mmm//kakarakakara=kabwaaa↑(.)//m
mm kayii↑=
bibi↗eee↗(.)kwanu=yuno=isungura=ihonoyacema=bamia=kanaunzaje?answered
wakakuta=watoene =mmbisi(.)ano=mbisi=yuawanena↗(.)// (raising tone)
le=//mmm//kate=sichoo↗fwaa↑=kate=sicoo↗,yakagululuka(.) mmm ↓,
yatawamila=yafWa=yaMmalika↓(.) -(falling tone).
The results of the findings show that most of the Bantu languages remarkably use
more intonation contour; however, these seem to be in variation between one
language and another in a realization of phonetic.
4.4.1.1.2 Melodies of Speech
Human speaking is not always running fluently. In communication, features such as;
hesitations, actor‟s voices and structures, structural features, lengthening and
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loudening are necessary in existing. Hesitation is the act of short or long stopping
and pausing before continuing saying or doing something. The existance of
hesitations in any language is conveying as a feature of natural speech. Meanwhile,
hesitations phenomena is occurring during the act of speaking when the participant
does not know what to say or interfered by something in order to express a particular
idea in his or her mind. They are of various types. Surely, hesitation markers are
used to communicate that the turn of speech has not yet been completed (Howard &
Osgood, 1959). According to, Harley (2001), the processes of phonological
encoding involve turning words into sounds. While lengthening exists whenever a
speaker takes articulation of words longer than what it should be. It is caused by the
interrupted for a speaker during speaking. In Gogo fairy tales, there are a lot of these
features exist, the following examples elucidate: N5,
…ndege=ii=:::ra=baba=napata=ii:::ndege(.) (lengthening),
ndege=wa=kumpera? mmm (0.4)aa:: kweli=mwanangu↓(.)si=wandege=wa=kump
era?(.)//(louding),
4.4.1.1.3 Repetition Markers
This aspect contains narrative words, fillers, repetitions and uncertain hearings.
Repetitions include the action of repeating a word, phrase and sentence more than
one time in a turn. This happens with prepositions, like “to to to”, articles, like, “the
the the”, pronouns “I I I” as well as conjunction, like “and and”. They provide the
participants with enough time needed to process and think of what to say next. They
tend to occur in the initial-position, central or when the speaker continues talking
about a certain topic after digression.The repetition and restatement of an idea at
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intervals can promote the clarity and encourage the acceptance of an idea. That is to
say, when a Gogo narrator repeats the phase or words, he/she has an intention of
emphasizing the competing ideas and subordinated out of the audience‟s mind. It
also brings about the enjoyement and participation between the audience and the
narrator. The repetition of things in several times is to put emphasis, convey actions
clearly, and create the impression to the mind.
Fillers are words and phrases that are used to fill silence and provide an opportunity
to serch the related terms used in filling the communication. Crystal (2008) defined
linguistic filler as a part of speech. The term used in communicative linguistics
situation as a non-silent pause. To put this in other side linguistic fillers are words
and vocalizations, such as, but not limited to: um, erm, er, like and you know (Rose,
1998). To bear in mind, these words do not add any real value to the sentence rather
than its main role of giving out a break without an awkward silence pause during
narrating or speaking. In addition, it is to make a statement less harsh, to use a strong
or weak ones, to stall time and lastly to include the listeners in the communication
and emphasizes that a speaker is still continue to speak or narrate. The evidences
from Gogo fairy tales:
iHula=iiii↗ihula N3,
eeeeeh↑ N3, (.) aaaaa N3, (fillers),
Katali N1, kwaliko=yali=munhu (0.3) N2, (narrative words),
(Extract 1) kwimba(.)//.
nyelele=mandoya=
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=nyelele=mandoya=
=nyelele=mandoya=
=nyelele=mandoya=N10.
(Extract 2)cacidete=yumbayumba=zoni//=
=cacidete=yumbayumba=zoni //=
=cacidete=yumbayumba=zoni //=(.)
N9,
=mbela=ee:::=mwanangu=we:::=lamba=
=mbela=ee:::=mwanangu=we:::=lamba=
=mbela=ee:::=mwanangu=we:::=lamba=
=mbela=ee:::=mwanangu=we:::=lamba=
=mbela=ee:::=mwanangu=we:::=lamba(.)//. N8. (Repetitions).
N5, mpaka=akaiya=( )(.)(Un-clear hearing).
4.4.1.1.4 The Expressive Signs and Gestilatory Elements
The main role of expressing signs, mimic and gesture elements in human
communication is social interaction. The verbal communication is often
accompanied by hand and other bodily organs‟ gestures, from the narrator‟s
movements. Gestilatory elements; is the act of making the use of gestures (hands
and arms) as in adding nuances or force to something. It shows a strong feeling on
the matter. The audience concentrates on understanding and comprehending the
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narration in spoken medium by perceiving the temporal organization of phonemes,
syllables, words, and phrases streams. These extracts from gogo fairy tales
postulated: Expressing signs:
(Extract 1), yono=yakatyanali=hono=kuja=kunena(.)hanonenu=kuswanuu↑
waleche=nowasana(.)hanena=nahitaa↑//mmm//hanena=nahita(.)nawakulonga=yuwo
no=sihitite=sihitite><=ningawa=ndo=nahi=yuanahita(.)hunena=uleche=mkulaga=hu
nena=uleche=vulaga=hunena=walecHe=wa=polisi=wala=wa=kukaya=nalemaa↑ m
mm//wala=chavukeni=nalemaa↑ mmm /hodu=yakakwii↑mba(.)niimbee?(0.2)niimb
ee?(audience asked)niimbee?niimbee? hoduci=waci =wecelaule//((laughing)).
Mimic in extract of songs: huyuu↑mumonga= wacekulu mmmm
homegwee↑=
=homegwee= homeseji=seji=homegwe=
=homegwee↑=homeseji=seji=homegwE=
=ihomegwee↑=homeseji=seji=homegwe↓
wa=polisi=wala=wa=kukaya=nalemaa↑ mmm wala=chavukeni=nalemaa↑ mmm
/hodu=yakakwii↑mba(.)niimbee?(0.2)niimbee?(audience asked)niimbee?niimbee?
hoduci=waci =wecelaule//((laughing)).
(extract 2) mulece=mulanga =sande =sana iiiiii↑sande=sana=iiii↑=
mulece=mulanga=sande=sana=iiiiii↑ sande=sana=iiii ↑=
mulece =mulanga= sande= sana iiiiii↑ sande=sana=iiii ↑(0.5=).
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(.)//mmmh//hodu=kani=kulye=yamoto=holohululuuu↑(act of arms)wacosaji=
wose(.)//(gestural element).
4.4.1.1.5 Lexico Semantic Elements
Basically, lexical semantic elements refer to the choice of words on how a writer or
narrator decides to use words in a certain language for distinct aim and effect. They
are words that are used to express thoughts, ideas, and messages intended to convey
for literal meanings. They may be the frequently used words (nouns, adjectives,
adverbs or verbs), the use of archaic words, euphemisms, derogatory words,
modality markers and specific particles. While on the side of lexico semantic
elements are based on special vocabulary, archaic terms, euphemisms, or derogatory
words are concerned, certain modality markers and specific particles. As far as
Euphemisms, or derogatory words a mild or indirect word or expression is
substituted for one considered to be too harsh or blunt when referring to something
unpleasant or embarrassing.
Besides modality markers and specific particles, this is a linguistic elements aim to
qualify the narrators commitment.
The following quotes: Special vocabulary and archaic terms,
These extracts: N3, hongohi::)(.)//
N5, tugamanyeta? N5
N7, elafika=baholilibwe N7.
N5, //(( ))iiiii↗
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N3, [( )]bibi↗=unanka=Mmoto=yakuwa=uwi?Imeee↗○…○[]eeeee::(audience
emphasized)yaweitula=yagwa=yakukuu:za?eee○…○hono=yabita=mmoto=yakulugu
luka(.)//aaaaa// (Specific particles).
4.4.1.1.6 The Morpho-syntactic Devices
The morpho-syntactic devices focus on question formats, specific word order
phenomena, imperatives, passives, constructions, specific conjunctions and
discourse markers. These are concepts that manipulate the structure of a sentence.
They are also a discourse marker: indeed they mark the beginning of a new part in
narrating. These are words or phrases whose function is to organize the story. They
bind together the pieces of story and making them to be completed through their
relationship and ideas. In addition, the flow and managing the narration bind by a
certain structure of communicative features. Imperatives, applied to something that
demands attention or action, an unavoidable obligation or requirement and
necessary. Gogo fairy tales are to be longer to incorporate these devices.
Question formats, (audience asked)[( )]bibi↗=unanka=Mmoto=yakuwa=
uwi?Imeee↗○…○
(extract 2) =cilango=diguka=halanjema=kudika=halanje=
=cilango=diguka=halanjema=kudika=halanje=
=cilango=ciwadinda?(0.2).N7.
Specific word order phenomena, N9,
//yakabita=yagululila(.)//mmm//wataka=ga=ga=ga><=wenye=mupelegwe=cikazeba
wye=gwaya=gwegwe=aca=camarika=cikunocecikaze=ciutamani=mwalinee:ma(0.2)
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//mmm//we=citaze=citaze{(hh)}=nyaupele=akalondoa=hhonze(.)//mmm//yakatalu=
mwinjila=muhonze(.)//mmm//wanhu=wose=wakanyunjila=muhonze(.)//mmm//wak
unyunjila=muhonze(.)
Like: N1, N2 and N4;
ne=honaa↑(.)
na=mbwili=zakoo↑(.)kwamba muhitii↑yete=henwewanhuu↑
hodu=yakakwii↑mba(.)niimbee?(0.2)niimbee?(audience asked)niimbee?niimbee?
hoduci=waci =wecelaule//((laughing))
ya=mwenye=ya=kulonga(.)=Hodi=akakwimbaa↑((laughing)). (Discourse markers
and conjunctions).
4.4.1.1.7 Melodic Contours
Melodic contour is the quality of movement of consercutive pitches of a melody its
measurement or and how it moves in between. Thus, this is differing from the
harmony. It may be nearest or far of successive in pitches or notes in a melody. It
can be described as melodic motion in move up or move down of tone. In this
aspect, there is existence of melodic contours in songs, stylistic and rhetoric figures.
They are used simultaneously with stylistic and rhetoric figures: the narrator can use
the variety of language according to situations and setting. All these are linguistic
signs of communicative actions that are comprised in the internal structure show that
how the Gogo fairy tales are characterized by a combination of verbal, visual and
sound elements. Spontaneously, they have been used in Gogo fairy tales as a
technique which a narrator uses to convey to the listerner‟s the meaning and goal of
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persuading audience‟s feelings. Melodic contours in songs from Gogo fairy tales can
be justified by these illustrations: N4 as:
hodu=wakabita{( hh)}=wakabita=webata=alu=wa:Kwimba↓.
Una=habari=gani=mtemi=wapolisi=wakuluza:::=
=mwalimwi=mwilomwilamwidong’a::nikamanyee::maSea=mo:nya=monagwe:(.)
(( ))/(xxx)(audience asked)wejelaule=kunachelaule?=kenechilonge(.)=
=sililongagwe::=hae::↗=
N7, =cilimono=ng‟oze::=nomlilowa=
=we kumbala=gwegwe=nomliloa=alukubita=haii↗
(Pitch fluctuation contours) existed in N5 and N4, as:
hucecagwaa=gali=mo↗=monga(.)//(raised pitch) kuzima=ngoo=zenu:::↓funmi
(lower pitch)
4.4.1.2 Situative Level of Gogo Fairy Tales
4.4.1.2.1 The Interactive Features
In the light of the remarkable of communicative genres, another aspect of it is
situative level. It bases on the interactive context and dialogicity of utterances
between multiple participants. It comprises of ritual phenomena, such as; the
opening and termination of interactive contact, greeting, readiness, and farewell
rituals, inviting and accepting (Erving Goffmann, 1981). Essentially, the interaction
utterances, when people interact, attend to one another‟s attention. The main is to
show how the fairy tales‟ language and message are used to describe the structure of
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the certain genre. Therefore, the interactional logical of Gogo people and how they
happened among the two a narrators (speaker) and listener (audience) are analysed.
In Gogo fairy tales, the interactions exist in all stories per se: good examples are
occurred on narrations like: N7, N4 and N8.
bwehe (.)Yakwanza=kwimba(.)//.
cilango=diguka=alanje=ma=jejele=kudika=halanje=
=cilango=diguka=alanje=ma=jejele=kudika=halanje=
=cilango=diguka=alanje=ma=jejele=kudika=halanje=
=cilango=huo=ciwadinda=
(Extract 2) :(.)(( ))/(xxx)(audience asked)wejelaule=kunachelaule?=kenechilonge(.)=
=sililongagwe::=hae::↗=
(.)//mmm//(audience
asked)[()]lihule=likageuka=likawa=munhu?eeeee↑((laughing))Ase=mwana=wetu=a
yuu:(.)//mmm//ukumtola=bwete::://mmm//ayu=mwana=wetu=ayu=sikucisaka=mwit
ula :(.)(dialogicity).
Either, the interaction can be existed in different bodily organs, such as:- from facial
expressions, eyes, mouths, hands, body shaking and noise practices. The moment,
they give a chance to a narrator to express his or her inner feelings to audience.
(Extract 1):
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(.) Audience asked [( )] bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-
iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-
(Extract 2) mmm//(audience asked)[( )]bibii↗mango=yolo=yayidinda?
↗aaa:wapi,~hono=wadinda=nacisi{(h)}nacisanzu(.0.2)yamunhu=tena(.)//(( ))
(Extract 3), wakabita=webata=alu=wa:Kwimba↓.
Una=habari=gani=mtemi=wapolisi=wakuluza:::=
=mwalimwi=mwilomwilamwidong‟a::nikamanyee::maSea=mo:nya=monagwe:(.)((
))/(xxx)(audience asked)wejelaule=kunachelaule?=kenechilonge(.)=
=sililongagwe::=hae::↗
Generally, it is a narrator‟s responsibility to ensure that the form and messages must
happen in a fairy tales. Similarly, they give out the nearly relationship between a
narrator and audience.
4.4.1.2.2 Interactive Modality Phones
Framing refers to the specific interactive modality (Ervin Goffman, 1986).
Whenever, the interactive modality is the type of in put or out put that is associated
to a specific interaction with a system. In communicative genres, it contains
fictional, ironic, playful, irreals (realistic) as further structural features on internal
structure. In addition, its interactive modality is together with the production of
format, i.e speaker‟s relation to their utterances as animator‟s reproducers of
utterances. Keppler (1985) showed how the media genres work, i.e. news is
characterized by a specific combination of verbal, visual and sound elements.
Quotes from N3,
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Audience talked ((talking)) a narrator,
itakulongaa::=nitakulonga(.)==heyo::=njiwa=kang‟alima(.)=nija=kuloonga:::=heyo:
:=njiwa=kang‟alima::=audience, ioooo↗njiwa=kangaruma::
audience, =iooo.=njiwa=kangarima::
audience, ↓=iooooo.=njiwa kangarima::=
N7, ikabahobi=bwehe(.)yakwanza=kwimba(.)//.
cilango=diguka=alanje=ma=jejele=kudika=halanje=
=cilango=diguka=alanje=ma=jejele=kudika=halanje=
=cilango=diguka=alanje=ma=jejele=kudika=halanje=
=cilango=huo=ciwadinda=
=cilango=diguka=halanje.
4.4.1.2.3 Interactional Sequential Markers
In additional, other aspects of communicative theory are interactional features that
are marked as turn taking, dialogical principles, repairs, pauses, stress, and
overlapping. Stress, Gogo fairy tales to the side of a narrator uses the stress for the
purpose of showing the degree of emphasis and more on understandable of a certain
message. Overlapping looks on the acts of a narrator and listener to cover a part of
interest at the same time. This particular coincidation appears unintended to both of
them. An interactive performance in fairy tales is obviously based on linguistic and
structural part of what narrators accomplish to. In Gogo, fairy tales are existing in
N4,
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…..audience asked ((asking a question))bibi↗=muele=gaga=hu?aahh.( )uca:(.)
Audience asked [( )] bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-
iitenkuno=li:gwee[( )]iiii↑(.)hodu=kohi::gwei=akulee↗=-(dialogical principle).
…..kumanga=yompera(.) mmm (audience asked)[(
)]bibii↗mango=yolo=yayidinda?↗aaa:wapi,~hono=wadinda=nacisi{(h)}nacisanzu(.
0.2)yamunhu=tena(.)//(( ))(ovellaping).
wakaturuka=koko(.)
4.4.1.2.4 The Conversational Elements and Integral Part Patterns
The users in conversations interact using numerous features. These are text input,
voice recognition and gestures. In addition, it contains the conversational elements
and the integral part of this analytical level on features like: patterns of turn-taking,
pair sequences, adjacency pairs, questions and answers, summons, and responses,
laughing, clapping hands, provides signs, of astonishment (Knoblauch, 1987).
Patterns of turn-taking, in the case of narrations turns are composed of one or more
than one turns. It implies between the user and the system that it is made of. They
are normally being explained as the linguistic realization of actions. Also turn-taking
in Gogo fairy tales is being explained by the actions being applied in relationship
with the narrator and the listeners (audience). It associates the actions to things done
with hands as justified and portrayed in extract N4:
…..audience asked ((asking a question))bibi↗=muele=gaga=hu?aahh.(
)uca:(.)Audience asked [( )] bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑(
)kori::-iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-
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More quotes are: N7, and N8; cikulona=cikuluta=nicalisina= alafu=munanii::=
nayo(.)cilikuluta=dulye=kulimba=bacua=lilye(.)aaaaa↗= eeeee↗ Yakanza
kwimba(.)//
Audience asked again ((conversation)) hodu=yakikabita=yakakuza(.)//eeeh//
yakuza(.)wakamtika(.)//eee//walamtika(.).
Pair sequences and adjacency pairs: these forms create a unit of conversation and
contain exchanges of turns. In one turn to another for each by two different speakers.
Often, turns are functionally are related to each other in their roles. Adjacent pairs
tend to occur in responsive pairs, and they are splitting in sequence of turns. The
utterances can be divided into first pair and second one. They might be greeting-
greeting, question and answer offer-acceptance or rejection and agreement. The
main intention of adjacency pairs is to coordinate turns and help to open and close
the narrating act. The following examples are justified:
(Extract 1), a narrator asks a question and audience answer it. (The answer is a
second part whereby it completes the adjacency pair). Extract from a N11.
yakalaangalia=huyu=msicana=hoya=keleyenu(.)?anu=ndagwa(.)nanii=mcifu (pair
one )
(audience
repeate)((mcifu))huyu=nanii:=fisi=katiaci(.)mshipala::ngu(.)cagueni=fisi(.)kwisha=
kazi(act of ((clapping))yafwaa::(.)//mmm//na=yule=mciiya=alikendaje((clapping))
(act of running)(.)//.(pair two).
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The moment after, there is the existence of questions and answers, a similar topic
with different participants; in Gogo fairy tales, one member can ask a question to the
narrator according to situation. The semantic information carried out by questions is
very important as it creates interaction between the narrator and the listener. The
fully interactive question and answer context obtained through answering or
replying on clarification by characterized by different features.
N4, (Extract 1)=ikawa=jumapili=nyekiyo:{(hhh)}//mmm//wele=jumatatu(.)
//mmm//audience asked ((asking a question))bibi↗=muele=gaga=hu?aahh.(
)uca:(.)Audience asked [( )] bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑(
)kori::-iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-kutamaSWani(0.5)//.
It also summons, responses, laughing, clapping hands, provides signs, of
astonishment. Summon means to call upon for specific action. A narrator is doing
this to keep the audience‟s attention. Besides, the responses are kind of information
that are provided by listeners on fairy tales. N10:
hono =kuncici =hodudu =yaliyafwaaa↑(clapping narrator )((clapping)),
hamba=katali=hecebita=kila=kitembe=mwana=ulondole=matanga=uite=mitebele=w
ana=hambakatali(.)//.
kwisha=kazi (act of ((clapping)) yafwaa::(.)//mmm//na=yule=mciiya=alikendaje
((clapping)) (act of running) (.)//, N11.
4.4.1.2.5 Non-verbal Communication Flows
Non-verbal communication is expressed through non-linguistic features as a means
of the actions or attributes of humans in silence mode. Thereafter, it is including
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their appearance and existence of the use of real objects, sounds, time zone use,
smell, and space, that have socially shared significance and stimulate meaning in
others (Nonverbal, 2018). It includes visual or kinesic cues, such as:- facial
expressions, eye movements, gestures, and a body orientation, vocal and
paralinguistic cues such as volume, pitch, rate, and an inflection. The next is
proxemic cues such as space and distance; also it is olfactory or smells cues; these
cues are provided through artifactual communication and appearance. All those cues
have an effect in daily life to share information about the body language.
Furthermore, in communicative genre the non-verbal communication features in
flows in transcripts, may be like: silence, pauses, coughing, sneef, the methods of
particular situation and so forth. Perhaps, the silence occurrs through out the fairy
tale narrating and happens by depending on what silence means. The relevance in
silence is to provide the situation that shows how the audience itself gets the tasty
and effect of the narration. Sometimes, in order to reduce the situation, one can
either ask questions or more clarification on the area which is getting hard to
understand or understood but it is very attractive. Here the answer may be direct for
answering or waiting the forward in more narrating and followed by the next turn for
more understanding. Concentrate on these evidences from: N8,
pauses, coughing, sneef, yagana=mdala{(hh)}yana=yapotya:: /(.)//mmm//iyapotya:::
((sneef))=wamisalimiya=mihanye:↗ni(.)
monga(.)//mmm//halikubite ((sniff))azunguka=mikindagu. (Narration 5).
Generally, nonverbal cues are used to emphasize spoken words and make the
message clearly to be achieved.
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Pausing, coughing, sniif, and the methods of particular situation are the linguistic
signs used for unclear utterances. There are so many linguistic signs in Gogo fairy
tales (narrations). Like a pause, it is used purposely as a tool to build intellectual and
emotional connection to listeners. A pause causes, sometimes, an audience to
process the message and wait for the next. Such areas that imply pauses in fairy tales
are: N5,
sizigi=je:la↓(.) mmm wakabita=mumbago(0.2)wakupita=muMbago(.)muo=kotea=
sogea=muno=na=mwanawe(.).
N5,
hononyelaga=hononje:la=jenyama(.)lakini=mafupa=hucecagwaa=gali=mo↗=monga
(.)//mmm//halikubite((sniff)).
Audience
((laughing))akaca=indege=ngilijeje::(.)//mmm//alumakubita=pale=nidondolee=gha!
waka=kubica(.)//. N10.
Therefore, for the fairy tales to be attractive and understood one must engage in
focusing on the behaviours in narrating.
4.4.1.2.6 The Opened and Closed Markers
The initiation in narrating a fairy tale on communicative genre is characterized by a
pre-sequence in which a narrator checks if the situation and condition allows and can
be fulfilled. If all participants are willing to cooperate in session and so far the
narrating act can start. Of course, the researcher regards that the preference structure
as a part of communicative genre due to regard conventions which heavily are
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depending on the socio-cultural context of the society. The cultural specific of
talking, conversation and narrating differ from one culture to another culture.
The initiation parenthesis, this is earlier remarks on the structure of fairy tales
naturally based on showing remnants of rules real interaction. Initiation rituals open
and closing remarks, obviously, these include with the welcoming and terminal
features which are used in Gogo fairy tales. Nearly, all these functions as mutually
in opening and closing the narration. In the end the numerous features can be
recognized in sequences as can be done by turns. The opening markers contain the
grab attention of the audience and make them to be ready and enthusiasm to hear
what a narrator wants to narrate. Further exploration is taking in Concentrating on
these examples:
N7, yali=munhu(.)//mmm// (initial form), ndo=ci=simo=cangu=totolii↓(.) .(finalize
form).
N8, hono=yali=munhu(.)//,yali=munhu(.)// yaliko=kwali=munhu//(initiation
ritual)N4.
Another feature is a farewell ritual; the Gogo fairy tales also have the rituals of
departure. This is a sign which allocates the ending of the story like:
From the N1, the last phrase,
“Si mo na mhuji, totoliii!!!”
Also from the N6, the last two lines,
“wabite chilango wa awali ayiii wabite chilango wa awali ayiii Yule mdala
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akawacha ne awo waliya zikaja zile mbisi zikafika zikamulya mdala uliya”
Termination of interactive contact in Gogo fairy tales a narrator has a specific mood
and tone which represent that the story is reaching the end. They may be sometimes,
a song, proverbs, lowering tone, pleasure, dancing and even motivational actions.
These extracts can be elucidated;
(extract 1), yakwira=yunakwe=hono=mnamtaka=mie=hae:::(( ))iyo::(..)//
audience asked(( ))mwenginega=huudo:::le?answered, yuavinaga=ni:ndo(0.3)//
mmm//sikanyagala=ndala=kule(.)//((conversation))//.
(Extract 2), mmm//huno=kusinanituma=naunituma=na=mutuma=lakini=
noumusijile=kuno=kwenye=cokaya(.)//
na=hadithi=yangu=ekainjile=huo=yainjile=ekala=baho↓ (.).
(Extract 3), tamani ↓(.).
ci=simo=cangu= totoli↓ .
4.4.1.2.7 Participation Framework and Isomorphic Features
Goffmann (Erving Goffmann, 1981) demonstrated more situative features that are
participation framework, longer stretches of talk and non-linguistic environment of
social situation. The participation framework is constituted by the production format
and the participation status, since the production format refers to the relation of the
speaker to the proposition communicated or the figure portrayed. This looks on the
participation status and the relation between the communicating participants and
their utterances (a narrator and listener). It also may last with several turns. Longer
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stretch of talk, is positioning in narrator in narrating a story. Sometimes, one may
utter nearly three or four lines at a time. The situation can be seen in these extracts:
participation framework, N11,
kwisha=kazi (act of ((clapping)) yafwaa::(.)//mmm//na=yule=mciiya=alikendaje
((clapping)) (act of running)(.)//.
:(.)Audience asked [( )] bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-
iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-kutamaSWani(0.5)//N4.
4.4.1.2.8 Non-linguistic and social arrangements
Nonetheless, non-linguistic and social arrangements are also a part of situative
structure of communicative patterns. Thus, the communicative genre is not
considered as a static product to be described by structural features only rather, it is
a construction within the communicative actions. Obviously, they are relevant due to
they bring about face to face interaction. Non-linguistic and social arrangements can
be seen in Gogo fairy tales as: N3, justifies:
yaliko=kwali=munhu//(initiation ritual),ioooo=heyo:njiwa=kang‟arima=
kang‟arima:::
iooo=hey:o=njiwa=kang‟arima:::
=iooooo=njiwa=kang‟arima(.)( )(audience loudly)EEEEE=iyendelezee::
((Laughing))(Audience loudly speak) tuendele:: endeleezaaa↗(song).
ci=simo=cangu=totoliiii↓(closing remark).
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4.4.1.3 External Structure of Gogo Fairy Tales
4.4.1.3.1 Communicative Milieus and Situation
Additionally, the third sub-category of communicative genre, which is explained as
a complex communicative pattern of elements is external structure. Perhaps,
communication is the fundamental activity through which social interaction is
accomplished (Orlikowski & Yates, 1994). It is taken as inherently embedded and
actively involved in numerous agents of every day social communicaty practices. In
communicative genre, the external structure consists of communicative milieus and
communicative situation as well as the selection of types of actors. Communicative
milieus, (acts) can be described as either prosodic or orthographic units. While in
communicative situation, words always do things. In fact, utterances do not merely
explain the message but perform actions. Things like; playing, dancing, and other
non-verbal joint actions. In Gogo narrations, the structures of communicative genre
actually shape individual‟s communicative actions and community activities that are
familiar with or live among. It is based on the communicative milieu‟s structure of a
society.
In such view, it contains of those important elements which are a part of the ongoing
current interactional order. The interaction exchange of utterances between different
actors and the situative sociopartial relation established by the means of this
interaction (Thomas Luckmann, 1987). Moreover, the selection depends on gender,
age, status, groups of women status, street gangs, student cliques and other similarly
groups. Again, they are characterized by the group of communicative participates in
a social occasions. Similarly, it is characterized by the repertoire and vocalizations
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of speaking practices and communicative patterns. The following extracts are
shown:
(Extract 1), mmm//hodu=yakakwii↑mba(.)niimbee?(0.2)niimbee?(audience
asked)niimbee?niimbee? hoduci=waci =wecelaule//((laughing))
Hodi=akakwimbaa↑ ((laughing))
[ ] Sungura=mutamwa=niko=yayahehe//=sungura=mutamwa=niko=yayahehe//
audience asked) hukeaji muaje?//eeeeh//=laanate=wiobote//
//eeeeh//sungura=mutamwa=niko=yayahehe[ ]
Answered (.). =sungura=mutamwa=niko=yayahehe//=sungura=mutamwa=
niko=yayahehe//
From a N3, =wegwe=nani=kataneni=
=njiwaa↑(.)kimolocee↑:=ukutye=ulyee:(.)//mmm//njiwa=ita=iMombuulaagaa↗
Clapping(( ))//
hodu=wanyabahoka=wanyakayaja=waja=sitokulaga::(.)
from a N4, yakwira=yunakwe=hono=mnamtaka=mie=hae:::(( ))iyo::(..)//
audience asked(( ))mwenginega=huudo:::le?answered, yuavinaga=ni:ndo(0.3)//
mmm//sikanyagala=ndala=kule(.)//((conversation))//.
4.4.1.3.2 Communicative Actions and Participants’ Relationship
Further, communicative genres are not considered to be static products, are
described in structural features only rather they constructed within communicative
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actions. They include actor‟s voices, relationship among the participants, the
sequential organization forms, the cultural context as well as its dramatogic structure
(Abrahams, 1976). There are some narrations which describe the organization of
bodily actions that affect the actions of participants at all. Along with, the sequential
organization is all about the courses of action implemented through talk. A member
in audience can ask a question or request an action then receive response in order to
satisfy. After all, it is the cultural context and dramatogic structure. In Gogo fairy
tales, the individual‟s choices occupy central importance for material desires. It
contends that the choice in cultural context and structures are used to examine social
behaviours of the community and turning to the world of fairy tales. From this, the
audience appreciate the narrations and is enjoyed. Actor‟s voices, seemed in N2,
Asked)niimbee?niimbee? hoduci=waci =wecelaule//((laughing))
Hodi=akakwimbaa↑ ((laughing))
yikuchanya(.)//mmm//letehiii::=pandeee↑(.)//mmm//kakarakakara=kabwaaa↑(.)//m
mm kayii↑ N11.
After all, a large domain of Gogo fairy tale that shows an action is an extract N3, N7
and N10. This appears where a new sequence starts with a song. The main function
of this an action is to attract the audience (listeners), and works to preserve the
stability and commitment at the session.
(Extract 3), =iooooo=njiwa=kang‟arima(.)( )(audience loudly)EEEEE=iyendelezee::
((laughing))(Audience loudly speak) tuendele:: endeleezaaa↗
Hodu=yakakuta=wegwe=nani=kataneni=
=njiwaa↑(.)kimolocee↑:=ukutye=ulyee:(.)//mmm//njiwa=ita=iMombuulaagaa↗
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At the end of the scale, sometimes, the action is done by a narrator however not
necessary to be responded by the listeners. Occasionally, the relationship among the
participants, might guide by either initial utterances being done in fairy tales or and
its responsive actions being physically received, all these actions one can take them
as the point of interaction and the matter of participation between members. Types
of fairy tales according to Gogo perspective. In Gogo community fairy tales are
divided according to characters act and their positions that play part within. This
study investigated that the characters in fairy tales, mostly are animals except of
very few. There are four categorization of characters in Gogo fairy tales (Balisidya,
1977).
The first category of fairy tale is that, the ones which their characters are taking
place in the attributes of totally animals. The difference is looked on the remarkable
of carrying the human attributes. They may be like, a character lion represents a
person who is very stubborn in Gogo society (king rule, hero and exploit the poor).
Besides, is a snake its representation is similarly to a person who likes to eat alone,
not satisfying, secrecy person and general a bad man. In case of elephant can
represent a man who has an enough body but in turn he has low, lazy and poor
ability to do decision in mind. In this group also brings non-living materials such as,
devils, dragons, gods and ghosts. Gogo people believe that these characters have
more power and direct effects with ability to reveal the bad and harmful results
compare to humans.
Either, another type of fairy tale is that which has the role to warn, prohibit and give
out the permission to those who, intentionally will go against. In this category, weak
characters end to be winners. Even birds are participating in these stories.
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The next, is the fairy tales that conversely create a picture of human beings and their
realities. They concentrate to human attributes. Thoroughly, the story may explain
events from grandparents to grandchildren. They anticipate things, such as,
starvation, marriages, infertility women, confrontations, norms, attitudes and
customs of the tribe. This can be purposely explained to create the obedience for
youths. Throughout these narrations, common peoples stand and represent their
attributes and betterness of their deeds.
After all, the remaining group is the fairy tales which comprise both two characters.
A mixture of humans and animals and rarely contains birds.
In the light of this remarkable, fairy tales are used as a source of knowledge that are
concerning with the natural history of Gogo community. They work orally and
literary to continue to exist side by side till today. They are too interacting and
influencing one another. On the other side, the process of narrating can emerge and
develop the Gogo culture. Thus, it is worth to note that they are using this simple
way for educating and give positive morals their young generations likely used them
as a method of communicative genre for Gogo society.
In conclusion, the communicative genre in Gogo fairy tales is very important
because they provides the light of growing the communicative processes for the
functioning society (Gogo people). Groups of people (society) interact each other
and share their cultural conventions through communication (fairy tales). Through
fairy tales Gogo community provides the morality on psychological purposes,
situation of difficulties and horrifying situations whenever these things must deal
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with sacrifice which ought to be done and other physical obstacles that must be
overcame.
Indeed, the Gogo language takes fairy tales as a primary tool for communicative
interaction in Gogo society, which is produced. Although men are mostly excluded
in Gogo fairy tales. They exist because they are regarded as rudely indirect and
respectful ones for children. In contrast, women play a great role on fairy tale‟s
speech activities. This is caused by the culture of Gogo community (women) is
mostly based on dancing, children caring and speech behaviours of fairy tales that
are based on the prevailing of the ideologies of gender (for women). Whereas the
situation reveals that women are considered to be direct and mostly care givers of
the family.
Hence, in turn, it consists of some kind of crystallization and complexity without to
represent prototypical genres. Therefore, the prototypical is characterized by the
contours of beginning, middle and the end. The opening consists of a frame of
welcoming and readiness frame then, the second part is a continuity of a story while
the closing part is a happy ending and the solutions to certain problems. It compiles
positive morals and happily ever.
Nonetheless, the communicative genre provides a useful theoretical framework of
analysis of verbal activities with the cultural speaking practices and communicative
conventions (Bakhtin, 1979). It can be analysed as a process of their interactive
production.
Fairy tales occur in speech genres as other communicative genres guided by the
interaction. In such view it is determined by social structures. Gogo narrators as well
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as the audience (listeners) are familiar with the speech features of Gogo fairy tales,
they may be regarded as the orientation the interactants in producing, interpreting,
analysing and communicating action. For instance a narrator can start to utter the
phrase “wali munhu” and then, the audience arises on the narrator initiation, along
with the communicative actions guided by the situation, taking place. Thereby they
guide the interpretations of intended meaning too. These two communicative
patterns guide the interaction and expectations about the course of communicative
actions.
Consequently, in this theory a study was described using the intermediate structural
level. The theory has directly linked the linguistic features and structures that
serving as the material base for the social transmission of knowledge. Whether, this
level is organized to the principles which refer to communicative genres.
Thoroughly, they are connected to linguistic features, code-related and social
structures related in determination of communicative processes. Further, it is
characterized by social modelling and key features of communicative acts
(Bergmann & Luckmann, 1995).
The importance of fairy tales in Gogo society is; that they are the most important
genres in reflecting the children sensitivity, feeds children‟s souls, enriches the
imagination and prepares the hope future. Gogo societies use them as an instrument
of training youths about the past events and that they still have the same role and
working today. Quite often, gogo fairy tales are used to boost children‟s
imaginations and their cultural literacy. Either, the children‟s imagination can be
used as a powerful and specific tool for creating positive thoughts. This inclusion
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brings of different cultures and various ways of how to do things. The fairy tales is
important for children because they reflect the sensitivity in best way.
Yet, fairy tales have a special position in learning session. They bring the great
contribution in teaching reading, writing, speaking and listening skills to Gogo
children. In this way, they can exploit teaching in various talents, fluency, diversity
and politeness of the mother tongue (Boratav, 1973).
On the other hand, Gogo fairy tales can contribute much to the understanding of
children‟s inner self life. Gogo people emphasis that Gogo fairy tales are important
to teach children the Gogo morals and good behaviours. This is because they teach
them the way of challenging things and events in life and overcoming the faced
problems, acting in living independently and living in harmony with comfortable in
nature. Surely, they also contribute to children‟s minds and personality development
in their daily life. In doing so, they can express themselves, comfortably; search for
love they desire and make them softened the conflicts with appropriate resolutions.
In addition, another informant ordered that the Gogo fairy tales actually offer the
possibility to view the imaginations as defensive mechanisms for their generations in
reality of life. Again, they can similarly offer more positive perspectives through the
expression of creativity and healthy. Gogo children through working with their
adults using hypo therapy of fairy tale with unconscious emotional can be accessed
to facilitate the personality integration.
Besides, fairy tales have an endless amount of possibility and huge contribution on
important matters. They are full of wonders and magic hopes, that they make current
generations to believe that the best can actually happen.
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It is therefore, concluded that the Gogo fairy tales are used as a model for
communicative action and socially relevant communication. They constitute the
mediation between narrating practices, social structure and the Gogo culture.
Though, through the other work of communicative genres (fairy tales) in Gogo
society work as socially constructed searched solutions, which use them to unite,
organize, routinize and standardize the dealing with the Gogo societal particular
communicative problems. However, this seems to be varied from one culture to
another of other Bantu societies. In different cultures, they construct their own
specific different solutions to solve certain communicative problems. The exemplary
of tale which justifies is a tale of number four (N4) which is concerning with “the
father, child and a bird” the interactive between a narrator and listeners can set a
task of resolving problems and searching more knowledge.
Hence, the activity is very useful for the specific function of communication
between children and adults. For example, a listener can ask a question during the
act of narrating or ask the need of more clarification on the matter. These strategies
can be used purposely as a way of impressing someone or searching more
knowledge or sometimes even to entertain. Give rises communicatives are not just
determined by social context but also contribute to the very constitution of these
contexts, by using a context for the interpretation of this particular activity
(Gumperz, 1982).
Generally, the elementary and specific function of Gogo fairy tales are used as
socially constructed solutions for their youths which organizing use them for the aim
of routining and standarding the dealing with their Gogo particular societal
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communicative problems. From this thus, it seems quite obvious that different
cultures vary in constructing their different solutions for specific communicative
related problems in all over the world.
There are various reasons of why the Gogo fairy tales are not working to Gogo
generations nowadays. On somewhat fairy tales as story- tellings and a part of
communicative genre are assumed to be closely tied up with all aspects of language.
Since a language always is known and used as a window to the mind of humans. The
mode of using in the written or spoken utterances convey very much important in
providing messages in any information. After all, the flow of continuously changes
in time need to be stopped and packed into bounded units, protected events and
event sequencial materials. Occasionally, these events together are the key and
skeleton of any story.
In the essence, the main reason as to why the currently Gogo fairy tales are not
working is that; the most children nowadays acquire the fairy tales as pleasure but
sooner they forget and unlearn to them. Because, they seem to be are not important
for them. Perhaps, they are functioning in more literary view. Meaning that, they
matter only on children feelings and thoughts that specific support the adventures of
the moment.
Another reason is the ways and methods which are used in narrating are so
traditionally and local ones. Obviously, this leads them to be ignored and instead of
is allocating in contemporary matters. Obviously, the matter facts of them remaining
only on the stories and never can be. Widely it is the matter of empirical that fairy
tales are suitable for little children rather than huge ones. In the circulation of this
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idea therefore, Gogo elders are not narrating the fairy tales to their children and
grandchildren. Though, they are the reason of their generations to be in immorals
and irrespectfull. Extract N1,
Katali=nhUku=naimwEwe(.)wanuwaliwali=ndUgu(.)WaliweyEndilemunomUno((si
lence))Aale;=nhUku↑(.)yalima=gamgUnda(.)mwEwe↑(.)yahOna=nacherehAni.↓Baa
dAe(.)nhUku=yakatyAUle(.)mii=yangu↑(.)na=nenaanjizaje=ne=honaa↑(.)Yakatya=
sawa=nokulanjidza=yakamlanjidzaa↑=yakamanya.↓Hono;yAmanyA(.)↑yakatya;Alu
u(.)mwEwe(.)nhulombaunyaazime=cici=msin‟gani=wAko↑(.)kwa=kweli=yakAmw
azima=msin‟gani=yakAwiya=nayo=kukaya(.)yakabita=kitumaamile=niinga=baho=
yakamlOnjela=yakatya=maagidzo=yakatya(.)waikosin‟gani=yangu=hono;taaje(.)siy
owezekana;langa↑(.)undEtelejee=bIte=ketumaamile=undEtelejee=Yakatya=aa:ka=a
nemsin‟gani=wAko=nokuletela=salAma.↓Hono;yabita; kUko;
yakataaga=lusiin‟ganii↑(.)honoyataaga;lusin‟gani=yalondola=yalondola=sin‟gani=si
kijeela (pause)Mwewe;.
Extract N2,
WaaTte(.)wasewasepatee↑kwa=hesamene=ya=ndugu=yee↑tu(pause)yasuku=yetu//
mmm (0.4) basi=sungura=aka(xxx)nkunena(.)nkunena=saa↑na
//mmm//ulonge=viswanu(.)//mmm// walece=nkuhulaga// //mmm//yono=
yakatyanali=hono=kuja=kunena(.)hanonenu=kuswanuu↑
waleche=nowasana(.)hanena=nahitaa↑//mmm//hanena=nahita(.)nawakulonga=yuwo
no=sihitite=sihitite=ningawa=ndo=nahi=yuanahita(.)hunena=uleche=mkulaga=hune
na=uleche=vulaga=hunena=walecHe=wa=polisi=wala=wa=kukaya=nalemaa↑ mm
m//wala=chavukeni=nalemaa↑ mmm hodu=yakakwii↑mba(.)niimbee?(0.2)niimbee
?(audience asked)niimbee?niimbee? hoduci=waci =wecelaule//((laughing))
Hodi=akakwimbaa↑ ((laughing))
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4.4.2 The Gogo fairy tales analysis with the conversational theory
This analysis bases on the theory which is concerning with the organization. It sets
basic features for working with the audio and video recordings of Gogo fairy tales
and its social interactions in verbal and non verbal situations. It is because appears
direct with the relative ordering of speakers, of turn-constructional units and
sequential organization. The ways conversationalists link turns each other as a
coherent series of interrelated communicative actions is called sequential
organization (Mazeland, 2006). Then, in addition, is structural organization which
focuses on turns (TCU‟s). Turns Constructional Units‟ actions work to analyze on
how it is accomplished by features in environment for talking or acting in
interaction. Quiet often, another is organization resource shaping in TCU‟s that is
grounded in the phonetic realization of the talk. For this remarkable this is based on
intonational packaging while, the remaining feature is recognizable action in
context. A very broad range of sequences in fairy tales in interaction appear to serve
the sequence construction comparable in which they are as turn construction.
The detailed examination of elements and structures of conversational theory is
based on bringing immediate focus on communicative features. It is an approach of
the study implies in social interaction of everyday life. Often simply, the analysis is
based on basic structures that occur in patterns. These include: turn taking, silence,
actions and so forth.
4.4.2.1 Turn Taking, Silence and Actions
Turn-taking in fairy tales is examined by the actions being implemented and the
relationship between the narrator and the listerners (audience). For the purpose of
this study, action refers to things done with hands whereas silence is to say nothing
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in any period exceeding even for one second (1sec.). The duration of this may be a
major or minor break. Hence, the characteristic of narrative discourse is to contain
action descriptions. Gogo fairy tales are provided in (Extract 1) to illustrate this,
ioooo=heyo: njiwa=kang‟arima=kang‟arima:::iooo=hey:o=njiwa=kang‟arima:::
=iooooo=njiwa=kang‟arima(.)( )(turn)
(Audience loudly)EEEEE=iyendelezee::((Laughing)) (Audience loudly speak)
tuendele:: endeleezaaa↗(turn)
Hodu=yakakuta=wegwe=nani=kataneni==njiwaa↑(.)kimolocee↑:=ukutye=ulyee::(.)/
/mmm//njiwa=ita=iMombuulaagaa↗Clapping (( ))//.(turn).
Another large domain shows an action. It focuses on the explanation of practices
using different turns during narrating.
(Extract 1), from N2, N7 and N10.
These appear where a new sequence starts with a song. The main role of this action
is to attract the audience (listerners), and works to keep the stability and
commitement at the session. Either, the creation of organized structure in physical
activity might be complemented. Sometimes, action is done in tales not because it
needs the audience‟s response, rather it emphasis certain omni-relevant matter of
narrating.
Good examples come from (extracts) of narrations N4, N10, and N2. The action
was done by a narrator but not necessary to be responded by the listeners. Of course,
there are substantial narrations, which describe the organization of bodily actions
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that tend to affect the actions of participants. An initial utterance being done in fairy
tales and its responsive action being physically received, all these actions can be
taken as a point of interaction and the matter of participation.
The relevance in silence is that, it provides a situation that shows how the audience
itself gets the tasty of the narration. Silence, sometimes, removes and corrects a
situation of misunderstanding because of asking questions and need of more
clarification to the area which is getting hard to understand. The answer may exist
direct for answering or waiting the forward in more narrating and followed by the
next turn.
4.4.2.2 Interaction of Openings and Closing Features
Interaction can be defined as a normatively organized structure of attention (E.
Goffmann, 1957). When people interact is attending to one another attention. They
are attending to one another‟s attention so as to provide the fully participation.
Along with, is to show how the fairy tales‟ language is used to describe the structure
of the certain genre. They should, therefore, work on how people interact in
communicating each other to narrate the stories. Even more is to look on the
interactional logical of Gogo people and how are they happened to both two a
narrator (speaker) and listener (audience). In Gogo fairy tales, the interactions exist
in various areas, good examples are narrations like: N5, N6 and N9.
The interaction of question from the audience to the narrator invites on how the
hearing and the tension is being carefully noted and need for interpretation. Rarely,
sometimes, is the answer obtained by doing something which is analysed or
recognizable for the aim of showing understanding of the turn. In relevant of
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initiation of fairy tales of Gogo society, the rule is to conduct and implement the
next moment of narrating. This is a thing that creates the interaction between the
members in tales. Generally, the first speaker casts of web of meaning and get ready
to inform the surrounding that they are in a certain occasion. However, it doesn‟t
serve as greeting but it works as a response to be ready to listen.
The terminal features: In the end the various components can be recognized in
sequences as can be done by turns. These include with the terminal features which
are used in Gogo fairy tales. Nearly, all these function as mutually in closing. In
extract of narration ten:
“ci=simo=cangu=totolii↑(.) .(closing marker)
It also appears in N3, N4 and N11.
yakwira=yunakwe=hono=mnamtaka=mie=hae:::(( ))iyo::(..)//
audience asked(())mwenginega=huudo:::le?answered, yuavinaga=ni:ndo(0.3)//
mmm//sikanyagala=ndala=kule(.)//((conversation))//.(singing and dancing as closing
marker).
The narrator is completing by a brief phrase which drops it to an ongoing interaction
with the audience.
4.4.2.3 The Analysis of Linguistic and Structural Communicative Features in
Gogo Fairy Tales
The general language of the narrative genre is obviously one of the spoken
discourses which are substantially subjected to linguistic and structural features.
Gogo fairy tales have got various linguistic and structural features which vary from
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one genre to another. Likewise, using Gogo fairy tales represent the fundamental
features of spoken discourse in communication, which is highly valued. These are
more properly used in narration as communicative genre. Yet, from the linguistic
point of view, some features that are used in the Gogo fairy tales are numerous and
very important to this genre.
4.4.2.3.1 Suprasegmental Features
Duration of long words and how are they used, speakers view and turn, the
intonation of the narrator, speech overlapping, intonation and specifically those
based on transitional continuity, truncation of words and intonation units, pauses
which focus on either medium or long, non-verbal activities and uncertain hearings.
Concentrate on these examples: N5, //mmm//kaiwa=yakuruka(.)//
(.)yakuira=ndege=ii=:::ra=baba=napata=ii:::ndege(.)//(duration of long words),
wamwona=nyoka=caupele=K[hi]aa↗(hi)anyigalo=atyatya?(.)iii↗(0.2)(intonation),
wamwona=nyoka=caupele=K[hi]aa↗(hi)anyigalo=atyatya?(.)iii↗(0.2)(uncertain
hearing).
4.4.2.3.2 Accent, Terminal Pitch and Lengthening Contours
The research also realized the existence of an accent, lengthening, short pauses, the
duration of long pauses, terminal pitch direction, accent contours, and the act of time
of breathing. Breathing time is a pause for relaxation that a narrator accomplishes
when he/she takes time for short rests. Lengthening include making a word longer
by repeating a certain letter whether it is a conjunction, for example, (aaand) or
articles like (thee). They are used as a strategy to have enough time to plan their
ideas (Fadhil, Tariq, & Tahir, 2018). Another strategy is the uses of vocalizations,
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extended marked quality, latching, ambient noises and phonetic details. Length is
concerned with the relative duration of a number of successive syllables or the
duration of a given syllable in one environment relative to the duration of the same
syllable in another environment (Cruttenden & Kuhlen, 1986).
The study has processed that the linguistic features for Gogo fairy tales revealed the
truth that fairy tales are very important and the powerful tool and the best choice in
spoken discourse. This research has shown different tales that were analysed. For
example, the story of a version number four (4) which concerns with the infertility
woman. The fairy tales have been illustrated and displayed the feature of
conversation. In generally, all linguistic diacritics of Gogo fairy tales display
primary medium in communicating.
[()]hebu=bibi=lironje(.)//mmm//hodu=yakasoo↑la=audience=ihula(.)//mmm//yakabit
a=vigagatii↑ mmm ihula=lika:lika::galuka=mwaa↑na[(.)]audience,likagunduka(.)li
kahunduka=lawa=mwana=yawa=mwana(.)//mmm//yakula=kumgunda=kagana=yav
Uga=yalayausikazogali(.)aka!=nani=kabuu↑go=ugalya=huu?mzee=waa↑ngu=nani=
kabuga=ugalya=uu?//mmm//=kata=magu=lete=tii↑le= mmm kate=sichoo↗fwaa↑=
kate=sicoo↗fwaa↑=lete=tyilee↗(.)//mmm//hodu=waiko(.)wakapata=kulya(.)//mmm/
/no=ndo=wakabita=mucikukaya=muwaganga↗//
The most frequently uses set of linguistic and structural features in Gogo fairy tales
are using the basic symbols, and conventions in doing transcriptions of spoken data,
Like: duration of long words had been seen in a narration version numbers:- (N2,
N3, N4, N4 and N5) totolii, likalikaa, yafwa, kulonga and the word wakuluza.
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4.4.2.3.3 Stress Symbols
Bold is used as a tool for emphasis and remark or even comment. It works for short
stretches in a fairy tale. Potentially, the capitalized exists due to put emphasis on
something. Double symbols or underlined (Stress) all these parentheses can be
represent the stress pattern. In Gogo, fairy tales can be seen in N4, N6,
na=hadithi=yangu=ekainjile=huo=yainjile=ekala=baho↓/(.)(bold),
Capitalized can be shown in narrations like:
hodu=wa=nyanDugu=wakaMmanya,
mpungucie=tutace:MW(hi)a(.)// (Capital letter),
N3, mmalenga in N3, yakusola=Mmenee(.)// N3, mumwaganaa in N4, dume in N4
(double symbol).
(Extract 4),
Matandika(0.2)Matandika=yasola=ganaiyya=bene=nyumba=za=wanhu(.)//mmm//
yakusola=Mmenee(.)//mmm//mene=za=wanhu(.)//mmm//na=ndo=yakamala=mwezi
=//mmm//yakusola=mbene(.)//mmm//ndo=siku=hiyo=ikawa=jumapili=nyekiyo:{(hh
h)}//mmm//wele=jumatatu(.)//mmm//audience asked ((asking a
question))bibi↗=muele=gaga=hu?aahh.( )uca:(.)Audience asked [( )]
bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-
iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-(underlined stress).
4.4.2.3.4 Carriage Returns (Intonation Units)
Carriage return (intonation unit), this is a stretch of speech in which uttered under a
single and individual coherent intonation contour unit. This is used to indicate the
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end of an intonation unit (Cruttenden & Kuhlen, 1986). It is a speech melody in a
situation whereby the voice of utterances goes up and down during speaking. In the
light of this, it works to show a speaker‟s emotional and feelings (happy, anger,
gratitude). Pitch concerns the varying height of the pitch raised or lowerd of the
voice over one syllable or over the number of successive syllable. This parenthesis
((↓) a down ward arrow: it is a linguistic sign that indicates the lowering of pitch. (↑)
An upward arrow represents the raised in pitch. Pitch track, Gogo fairy tales are rich
in using pitch tracks. This (//) parenthes can be used as allocated in these extracts.
They work in indicating the final fall, i.e a concluding fall either to show the end of
a turn or sometimes shows emphasis. These signs are located from Gogo fairy tales
in different areas. Good examples are these extracts:
Audience asked ((asking a question))bibi↗=muele=gaga=hu?aahh.(
)uca:(.)Audience asked [( )] bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑(
)kori::-iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-(carriage return).
uye=ne=mwana:ngu↓yani,
yakawabita=vavivyoo↓(.),muperaa↑//eee yekumubitiche↓(lower pitch).
An example from the extract of narration Number (2), zikamalika(.)
yakamuoopaa↑=mpaka=zikamalika(.)//mmm//
yanotehayi=kati=ya=agwe=mbisi=ye=wamuhiti=yawa=kulomba=hukuteleta=ya=m
ubiti//mmm//muhiti=na=mbwili=zakoo↑(.)kwamba
muhitii↑yete=henwewanhuu↑(up ward pitch).
iitenkuno=li:gwee[( )]iiii↑(.)hodu=kohi::gwei=akulee↗=-
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pumbago?eeee↗uya=aaaa↑(pitch track).
zikafika=zikamu::wa=mdala=uliya(.)//,=cilango=ciwadinda(.)//
yule=mciiya=alikendaje((clapping)) (act of running)(.)// (final fall).
4.4.2.3.5 Emphasis Segments
(-) Underlying is used to allocate the emphasis. Underline (-) is a parenthesis which
work as a stress or emphasis, it increases loudness or high pitch. // phrase boundary
marker: it is a double slash which indicates a final fall; i.e, a concluding fall which is
either used to show the end of a turn or emphasis. Words like: N8,
wangu=huyu=mwana=naye=yabita(.)//mmm//naye=yakabita=yakamleta=mwana(.)//
mmm//yuno=yuakabita(.)//.Yakakwimba(.)//(phrase boundary marker).
Words in these extracts:
bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-iitenkuno=
li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-(underlying parenthesis).
nicapya=nicapya=nicolonga=cicetu=nicolonga=cicetu(.)akuja=mulume=muhini=cin
g‟ombe(.)yale= wote=ra=yachunuka-
uya=aaaa↑( )kori::-iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-
(underline).
It is a narrator‟s responsiblility to ensure that the form and messages happen in a
fairy tales. Either, the interaction exists from facial expressions, eyes, mouths,
hands, body shaking; noise practices give a chance for the narrator to express
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feelings to audience. They similarly give out the nearly relationship between a
narrator and audience. The following extracts elucidate,
yakakwii↑mba(.)niimbee?(0.2)niimbee?(audience
asked)niimbee?niimbee?hoduci=waci=wecelaule//((laughing)) hodi=akakwimbaa↑
((laughing))
hodu=yakikabita=yakakuza(.)//eeeh//yakuza(.)wakamtika(.)//eee//walamtika(.)walec
a=liwaya(xxx)ase(.)cikuda=yafwe=cikumalengaa↑(.)//eeeh//hodu=yakawabita=vavi
vyoo↓(.)mwaneyayo(.)yakabita=wa::yale=masogeza=munhu(.)//eeeh//wakavita=vile
=kalete=malenga=wakakwanza=yakakwimba=we we we=
4.4.2.3.6 Overlapping Codes
// // overlapping parenthesis, shows that speakers talk simultaneously (at a time). [ ]
indicates the overlapped speech. Similarly, this linguistic sign is used for
overllaping. It can be marked by left and right brackets. It shows the parts of
speakers which occur simultaneously. It has been shown in utterances like:
It applies in words such as: „mmm‟ „eeeh‟ in N5, eee in N3, N7 and eeeh N10. The
sign represents an interaction between speakers.
kukutima(.)//mmm//yakatima=(overlapping parenthesis)
hagwe↑(0.2) mmm wakachena=„mmm‟ „eeeh‟ in N5, eee in N3, N7 and eeeh N10.
yayahehe in N2, (overlapped speech).
N3, anze=njiwa(.)//mmm//(())(audience asked)[()]izo=mbisi, (.)[( )]yakabita N3
(overlapping utterance).
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4.4.2.3.7 Pauses
Pauses are considered as a way of expressing hesitancy (Stepanova, 2007). The
silent pauses are used to have enough time to process what a speaker or narrator
wants to say. These signs allocate different types of pauses. One is a (..) pause of
less than five (5) seconds / pauses (.), and gaps (number) between utterances, it
timed in terms of tenths of a second and inserted within parenthesis, either and
within an utterance. Pause, (.), a dot in parenthesis indicates a micropause hearable
by someone but not readily measurable, ordinarily less than (0.2sec). This
parenthesis (…) or (number) is a pause used of more than five seconds (long pause),
words like: this exists in (extracts),
mara=akamtunduliza=kwa=nguvu(.)//mmm//henzilagati=aa↗(0.2)yuinjila,
ci=simo=cangu=totoliii↓(.)(pause),
=na=upinde=wa=namliwowa==asa=cikubita=kwetu=namliwowa(.)//.
yakakuza(0.2)wakakibata(0.2)(gap with number),
[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-kutamaSWani(..)//(pause less than 5seconds.).
namuhondola=mwana:ngu:(.)// iitenkuno=li:gwee[()]iiii↑(.)
kutamaswani in N4, mumbago in N.2 and N9.(pause/dot).
words like:
ntakulonga in N4, wose in N3 and N8, =cacilete=yumbayumba=zoni//=(0.6)/(…)
Audience asked continue ((conversation))
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wakonja(.)wakusaga=audience=repeate(…)wakonja (long pause more than 5
minutes).
4.4.2.3.8 Extra Utterances
A comma, (,) represents a pause in the stream of speech. It is used to indicate the
dropping of a gaze. The end of a gaze it is a starting point of a new one. The other
parenthesis is (( )) interaction utterances, when people interact are attending one
another‟s attention. Along with, it is used to show how the fairy tales‟ language is
used to describe the structure of the certain genre. It should, therefore, work on how
people interact in communicating each other to narrate the stories. Even more is to
look on the interactional logical of Gogo people and how are they happened to both
two a narrator (speaker) and listener (audience). In Gogo fairy tales the interactions
exist in various areas. N5,
wawamtimu=yakunusa=zile=mambo=mwana=mchanga(.)yakunusa=mambo{(hh)}y
akunusa=mambo=yakunusa=mambo(.)baba=adonusa=mambo=anonutima=na=sisi,
(comma).
Good examples are these streches: webata=alu=wa:Kwimba↓.
Una=habari=gani=mtemi=wapolisi=wakuluza:::=
=mwalimwi=mwilomwilamwidong‟a::nikamanyee::maSea=mo:nya=monagwe:(.)((
))/(xxx)(audience asked)wejelaule=kunachelaule?=kenechilonge(.)=
=sililongagwe::=hae::↗=(interaction between a narrator and audience).
Simultaneous utterances, i.e. consecutively speaking, it indicates the continuity
speech. (Extract 1),
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wakakunja↓=wahomanga mmm waahuma=wakahomanga=wakonja=wakampata=
muhilu=uyu↑Mmonga,(simultaneously utterance).
4.4.2.3.9 Raising and Lengthening Segements
The raising tone or intonation: This indicates the raising tone of the speaker or
narrator; nomally, it functions as emphasis on the utterance. Capital letters (A, B, C,)
represent the use of a specifi part of an utterance, to be louder and high pitch rather
than the surrounding talk. Words that are used are like: From Gogo fairy tales can be
seen in the following words such as:
iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-
pumbago?wakampakulya=akauliza=mwanangu=ayo?ndio↗=mwanangu=ayo?ndio
↗=
wala=wa=kukaya=nalemaa↑ mmm wala=chavukeni=nalemaa↑ mmm hodu=yaka
kwii↑mba(.)niimbee?(0.2)niimbee?(audience asked)niimbee?niimbee?
uliyodumaa in N2, niimbe in N3 and ihula in N3.
=njiwa=kang‟arima(.)( )(audience loudly)EEEEE=iyendelezee:(capital letters)
::: lengthening segment is used more in Gogo fairy tales. These tales actually have
used the various lengthening segments in narrating. Such examples are:
[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-
(.) mmm kata::lu=namuhondola=nzi::la↓=namuhondola=mwana:ngu:(.) mmm m
dala=ayo=nokusaka=mna=nna=majimapete=hapanu=namje=nzi::la(.)//mmm//maka
mpa=mapetya::(.) (Lengthening segment).
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4.4.2.4 Phonetic Symbols and Prosodic Features in Gogo Fairy Tales
4.4.2.4.1 Streches Sequences
:: prolonging stretch or sound (more colons indicate prolonging. This applies in
words such as: mone in N5, huudole in N4 and zohonekako in N4.
yakatuga=mbii::si(.)//mmm//yakatuga=sungu::ra(.)//
//eeeh/citika=citika(.)//eeeh//=muwasino=mwahena=mutika(.)//eeeh//hodu=mune=y
akawe=yazae=mile::=mile=yakwima(.)//
Mone:: in N5, huudole:: in N4 and zohonekako:: in N4.(prolonging stretch).
((Pause)) un-timed gaps that exist between the utterances of the speaker or narrator.
They are described with double parenthesis and inserted when they occur. This
sometimes can be used in the following parenthesis. (-) Short un-timed pause within
an utterance is representing using a dash.
=cacidete=yumbayumba=zoni //=(.), yakakuza(0.2)wakakibata(0.2)wonu=
walicokibata=wakamgong‟ola=kukaya /(.)(Pause of untimed gap)
4.4.2.4.2 Degree Signs
(.),(..),(…) degree signs for quiet or soft talk. When you use more signs, they
allocate more soften. Also, the sign of (◦…◦) (degree sign), is used as a part of
produced utterance which is characterized to be softer than the surrounding talk.
((bu::t) = (goo:d)=) the degree marks show that the utterance is very soft. A
transcript code remains indeterminate between “but” and “good” separarted by a
slash.
Phrase words like:
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mkono=mweluu↑iyomwe=seji=seji=homegwe//(.).mwana(.)//mmm//yuno=yuakabi
ta(.)//.homegwee in N6, N10,wakonja=wakutulaga=mahemba=
wakonja(.)wakusaga= audience=repeate(…)wakonja=walimberambera (degree
sign).
This is evidenced in the narrative words, like ciinji in N7, imee in N3 and N4.
=cilango=diguka=hala:njema=jejele=kudika=halanje:○…○
=cilango=diguka=hala:njema=jejele=kudika=halanje:○…○(degree sign for soften
talk).
4.4.2.4.3 Interruption Codes
(-) is a sign which functions as a self interruption. It is a hyphen after a word or a
part. (( )) it is used for special characteristics of talk, like: (false talk), (whispered).
>< less than brackets, it is used in speeding up the pace of delivering, the part of the
utterance which is speeded up. ~ the fluctuation over one word. The parenthesis is
very rare existing in Gogo fairy tales. However, there are some few. These are
examples:
kalulitendeka(.)noteza=je~//mmm//
wakagana=mU~=musina N4, (fluctuation).
Words that applied are:
wacate=ha=ho=he> <hee(H)!↑(.)avekondoe, yakatahanye=ilya=mwali=mwe::na=
kuse=mla::nJe(.)//mmm//yakabita=yagululila(.)//mmm//wataka=ga=ga=ga>
<=wenye
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we we> < we in N4, ka ka> < ka in N2 and mbu mbu> <mbu in N3.(less than
brackets)
=cacilete=yumbayumba=zoni//=(0.6)
Audience asked continue ((conversation))
yana=yapotya::/(.)//mmm//iyapotya:::((sneef))=wamisalimiya
=kazi (act of ((clapping))yafwaa::(.)//mmm//na=yule=mciiya=alikendaje((clapping))
(act of running)((running))(.)//(special talk)
Words like:
mlume=kawasoa=yatuluse=inkula=yakatani-
kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-iitenkuno=li:gwee[()]iiii↑(.)
hodu=kohi::gwei=akulee↗=-(self interruption),
4.4.2.4.4 Aspiration Signs
(h),(hh),(hhh)-aspiration, (.hh) aspiration, {(hhh)}/{ } curl brackets, { } breath (the
effect of a pause) or a gap of a silence.
(h),(hh),(hhh)-aspiration signs. These represent the breathing and the act of
laughing. Additionally, they are the linguistic signs that represent a short pause in
narrating. Either, the sign (.hh) aspiration is used in aspirating with the inhalation
(raised dot) (hh). In turn {(hhh)}/ { } curly brackets are used in glosses to
differentiate elided material from overlap. Taking into account, an aspiration also is
used for breathing. Another sign is { } breath (the effect of a pause) or a gap of a
silence. Both breath and other sounds are separated by a slash (/) it is written as
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{(hhh)}; however, it can sometimes be written as {(0.2)}. Clear examples are words
like:
yagwila=misi:ma{(hh)}mnozaule(.)//
(.)//mmm//mihanyeni=mka::misa:{(hh)}=kalibu:ni (gap of a silence),
Used in extracts like: Hodu=mdala=yule=nacecea=nhonze=
akuta=mbisi=zafiKa(0.2)zazimile=sukumnitila=nhembo:=sui=nji:li({(hh)}zafika
(.)//mmm//mihanyeni=mka::misa:{(hh)}=kalibu:ni,
N4, kahulile:{(hh)}ye=yoyahita (aspiration),
yalidodomyA={(hhh)}yagulile=yagakwe{(hhh )}kilea (aspiration with curl
brackets) N4.
4.4.2.4.5 Unclear Phrases and Doubts Signs
This sign of ( ) unclear phrases and doubts about actual words, happens in a
something that is said but not heared (an empty parenthesis). (xxx) marks pausing
and unclear utterances. This is a linguistic sign which is used for unclear utterances.
[ ] Sometimes, can be used; this parenthesis [word].i.e [clear throat].non- lexical
phenomenon, vocal and non-vocal interrupts with the lexical stretch. Such words
that are applied in fairy tales are like:
N4, munhu in N2 and zangu in N2. In extract number three (3).
………kwaliko=yali=munhu(0.3)(xxx),
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kwaliko=yali=munhu mmm hono=yawa=munhu↑yakatuga=mbiisi(.)//mmm//yaka
tuga=sungu::ra(.)//mmm//alu=hekikalaga=hakwe? mmm hono=wakikala=hagwe↑(
0.2)//mmm//wakachena=twende=mkalime=mbene=zangu:::(xxx),
sungura=kawambia↓nkatenae walamtika(.)waleca=liwaya(xxx)(pausing and unclear
words),
kanze=njiwa(.)//mmm//(( ))(audience asked)[( )]izo(unclear words).
/ A single slash, is a slight and soft utterance which fall and may work to show the
end the turn or suggest sometimes, if there is more to come. The sign shows a direct
direction of the pitch movement, if it is rising, lowering or moderate. It is depending
on the specific pitch level of the movement. In Gogo fairy tales, the sign can be seen
in these extracts:
ayu=kuno=yafika=kaya=kuno=alicile/(.)//.
‟ombe:=inyi=nasiya(.) mmm yakamleta=ilye=akamsola=ng‟ombe=yakamTo:a =(si
ngle slash).
4.4.2.4.6 Other Parentheses
(a)/(uh) hearings of the same strip of talk are displayed by putting an alternative
hearings in parenthesis, separated by a single oblique or slash. (( )) It also represents
the noises which are a part of the context. Things such as: telephone rings, baby
crying and louding. = Latching sign is representing one speaker immediately follows
the speaker before without any pause between two speakers. It is marked by equal
signs. This happens after, the first speaker‟s and before second speaker‟s utterances.
Situation like from an extract N2:
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yanotehayi kataagwe mbisi ye muhiti. zikamalika(.)yanotehayi=kataagwe=(latching
sign)
((Word)) /double brackets or parentheses stands for vocalisations which are not easy
to spell out as a word, i.e coughing, clearing a throat, snort, sniff, footsteps, and long
silence. Such narrations are:
N2 in ulete nkulagaa, halikubite in N6.
Hoduci=waci =wecelaule//((laughing)) hodi=akakwimbaa↑((laughing)).
yana=yapotya::/(.)//mmm//iyapotya:::((sneef))=wamisalimiya
bora=wenetu(.)hodu=liya=wakaca=hoduru=kusina=kance=hono =kuncici =hodudu
=yaliyafwaaa↑(clapping narrator )((clapping)),
4.4.2.4.7 Pitch Signs
= = double equal signs at the beginning of the latched word(s), are used to indicate
latching and as with overlapping can also be used with non-lexical material. [lo]
sign, it indicates low pitch register. (H) Throat, (H) in halation, indicates the audible
inhalation with a capital letter “H” In linguistic field, the sign indicates audible
inhalation or throat coughing. This extract exists:
=coteaci=ghee!(H)↑hodu
wacate=ha=ho=he><hee(H)!↑(.) (Throat in halation).
Words such as: N3, nitakulonga heyo nitakulonga(.)==heyo::=njiwa,
Una=habari=gani=mtemi=wapolisi=wakuluza:::=
=mwalimwi (doublé equal sign).
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N2, ci =simo=cangu=totoli::.↓(low pitch regiser),
This parenthesis also can be used within a speaker turn to show that a speaker is
latching his word(s) to what has just gone before. Gradually, double square signs are
entered in the left hand margin. [hi] sign, it indicates high pitch register. These
extracts give some evidences from the Gogo fairy tales.
kuwakongo=la=wanhu(.)//mmm//yakutema=nkE[hi]me::(.)//
haliyaha=na=nY[hi]↗ungu=yakwe(.)
= it is used also for a single turn and if it happens the turn is to be interrupted and
interviened by another speaker, however, the first speaker continues their flow of
speech.
=cilango=diguka=hala:njema=jejele=kudika=halanje:○…○(turn)
=cilango=diguka=hala:njema=jejele=kudika=halanje:○… ○(turn).
(TEXT) parenthesis indicates the non-verbal sounds produced in vocal cords or
tracts of speech event in participants. It may be coughing, throat, clearing, tongue
clicking (snort, burp, gulp, swallow), breathing, sniff and yawn. Normally it is
written by capital letters.
(,) a comma, is used in slight rise to indicate the continuation, i.e for a list or to show
that more is to come.
yakagana=wafuga(.)walimbaho(,)=wasaganusage(comma).
Generally, is to bear in mind that, Gogo fairy tales are very rich and highly valued in
a matter of linguistic and structural features of Gogo language. In the remark of this,
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there are a lot of parentheses that are recognized in Gogo fairy tales. Such as: (TSK)
click of the tongue, (.) Distinctive pronounciation. (Uh) hesitation (filled pause),
(Unh-unh) negative response (initial syllable stressed) and so forth.
Henceforth, to end up, the structure of narrating the stories is determined using a
step by step as they coordinated each other for different activities. On the other
hand, different techniques lead in linguistic and structural features of Gogo fairy
tales.
4.4.2.4.8 Non Linguistic (Structural) Features that Existed in Gogo Fairy Tales
Communication is an essential coordination in organizing one‟s thoughts, actions
and the uses of language. The area discusses the communicative behaviours in fairy
tales as a group or team that applies actions. In general, it emphasizes the structural
features that are used in Gogo fairy tales. These are some indicators that are uttered
by the narrator for the intention of understanding the story. They are acknowledged
with features, like:- okay, verbal gestures, i.e (mmmm), (eeeeeh), non verbal
gestures, i.e (nodding). In many cases, the structural features and actions are
integrated while the understanding is only analyzed together properly.
4.4.2.4.9 Initiation and Pre-telling Fragments
Actually Gogo fairy tales have contained different features that can vary between
these genres to the other genres. Fairy tales as an activity including what the
introductory parts of what has been going on before the narrator enters the floor of
narrating and what happens thereafter. Opening conversation takes a special
coordination as two or more people move in interaction of being in one
conversation. Besides, in narrations, (fairy tales) a narrator must first have to start
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with the preparation (pre-narrative) and its response of collecting children
(audience) who act as listeners. In fact, they produce the interaction and
participation in the whole act. Some of the initiation rituals are like; “kwali munhu”
means once upon a time! And then, audience responses by saying “Dii” or “mmm”
or”eeeh” or sometimes they nod their heads with sound “mmmhhuuuu”A narrator:
kwali munhuu! Audience: mmmhhhhuuu. So far, all these can help in coordinating
on what is going to happen on the next. Therefore, the phrases above are used for
initiator and the listener (audience). The phrase starting of “kwali munhu” (I) and
the phrase response of mmm or dii or eeeh (L)” the initiative sequence and response
sequence are provided the relationship between the initiator and the response, the
thing that has very powerful relationship. From that, it invests in contiguity between
the narrator and the listener by attaching in its position.
4.4.2.4.10 Song
A song is a rhythmic piece of music that is created or composed to be sung and
danced. It is used to motivate and entertain the listener. It is functioning as a tool for
capturing the listener‟s intention. It is a song that gives the audience a deep
understanding about words, lyrics and clarification of the message contained in it. It
provides a form of interaction between the narrator and the listeners. They function
to motivate and make them think about the fairy tales‟ message. In so far, the related
fairy tales in this study use songs as tools to emphasize the message contained
within. Their songs are forms of interaction that are embedded in the cultural context
of Gogo people. Concentrate on examples: (Extract 1),
=cohari=kulonDola==cohari=kulonDola=
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=cilimono=ng‟oze::=nomlilowa=
=cohari=kulondola==cohari=kulondola=
=cilimono=ng‟oze::=nomlilowa
=we kumbala=gwegwe=nomliloa=alukubita=haii↗== (song).
(Extract 2), Mtulie:::mlungugwe=wa=Mazengo:::=ye=katare= yukonga=wana=
masea=walimwingira=nanene=china=cidewa:
yakwira=yunakwe=hono=mnamtaka=mie=hae:::(( ))iyo::(..)//
audience asked(( ))mwenginega=huudo:::le?answered, yuavinaga=ni:ndo(0.3)//
mmm//sikanyagala=ndala=kule(.)//((conversation))//.(song).
4.4.2.4.11 The Audience’s Feed-back Channelling Unit
(Bakhtin, (1986) states that; a listener can also create an understanding by uttering
appropriate responses to the speakers‟ speech. If it happens one to tell a story, the
other conversational partner frequently provides a variety comments on the story.
Spontaneously, the situation exists because this is calling as a feedback. Feedback
refers to the process by which contextual information on performance on something
is conveyed back to those involved in actions or interaction (Mitchell et al., 2017). It
is an important element to achieve full potential of communication. It is a part of the
receivers response communicated back to the sender. They are the results of
effectiveness to the related message. Generally, feedback is the essence of two way
communication. In two parties of (fairy tales session) a narrator and audience
(listeners) are expected to use terms, such as uh uh uh or mmmh or yeah or eeeeh or
any other similar phrases. In this study, parenthesis can be obtained in these extracts:
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(Extract 1), audience asked ((asking a question))bibi↗=muele=gaga=hu?aahh.(
)uca:(.) Audience.
(Extract 2), …..asked [( )] bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑(
)kori::-
// audience asked) hukeaji muaje? Eeeeh=laanate=wiobote// (feedback unit).
Hence, all the above verbal responses, visual displays (facial expressions, nods, and
gestures) represent the examples of back channels that are provided by Gogo people
in listening the fairy tales. They imply that either the narrator should continue in
narrating the fairy tales or provide more clarification about the certain session.
4.4.2.4.12 The Existence of Variation in Performance
Basically, human communication is necessarily interconnected with thr personal
communication on physical, social and psychological markings of speech. In this
essence, the act of narrating between narrators varies with each other. Of course, the
difference exists due to demands and needs of communicative situation. Therefore,
this causes temporal changes in segmental properties. Such things are manifested in:
slowering narrating rate, phrase length, more frequently pausing and louding, mood,
communication style, discourse complexity, and others. Some narrators use a speed
of articulatory movements, and prosodic features. On the other hand, the issue of
age, gender, area, are also taken to be the reasons for differences. Thus, presumably,
there is no one way which is used in performing the fairy tales for different narrators
because of fluently uses of language and the rate case.
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4.4.2.4.13 Interacting Closing Remarks
Closing of fairy tales do not hang up without agreeing to hang up. A narrator
proposes to close the story, either using lowering the tone and intonation together
with the phrases. They may be normally, either the introducing of names,
conversation, songs, clapping and dancing or foods that are eaten before the story
narrated and even Gogo traditional proverbs. As illustrated in these extracts:
(Extract 1), ci =simo=cangu=totoli::.↓(lowering tone).
(Extract 2), hadithi=yangu=ekainjile=huo=yainjile=ekala=baho↓ (.). (Finishing
phrase).
(Extract 3), Nlienda kusaga mtama nilipofika njiani nkajikwaa na viunga vyangu
vikamwagika, Na hadithi yangu ikaishia hapo!!! (Gogo traditional‟s proverb).
yakwira=yunakwe=hono=mnamtaka=mie=hae:::(( ))iyo::(..)//
audience asked (( ))mwenginega=huudo:::le?answered, yuavinaga=ni:ndo(0.3)/
/mmm//sikanyagala=ndala=kule(.)//((conversation))//. (singing and dancing).
4.5 Concluding Remarks
The fairy tales are essential tool for Gogo people as they mark a starting point of
daily life conversations, personal consent and body autonomy used for children.
Normally, they are circulated in the tradition of new generations that inspire the
power of childhood to adults. Throughout, their history, the Gogo fairy tales have
caused the most institutions for progressive and conservative which go on the
mind‟s growing children.
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So far, the fairy tales primarily work as they are concerned with morals and spiritual
progress; they are contained with the spiritual doctrine, beliefs, positive morals and
manners. Therefore, from these matters, they put children into the achievement of
salvation and lead in the controlled role. This is actually based on how children
should behave alongside their own distinctive needs. Whereas, the situation leads
them to show how their future roles will be. Therefore, it is very important to equip
the Gogo children and Bantu in general with the stories in order to keep them linked
to the past and ready for future.
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CHAPTER FIVE
SUMMARY, CONCLUSION AND RECOMMENDATIONS
5.1 Introduction
This chapter gives the whole summary of the findings and discussions of the
findings as described in the previous chapter. The chapter also, provides the
conclusion and recommendations for further research with regard to the topic under
the study.
5.2 Summary of the Findings
This research aimed at exploring the various linguistic features about the Gogo fairy
tales. Again it shows how fairy tales are used as communicative genres in Gogo
daily life. Following this, the collection of Gogo fairy tales facilitated in creating a
data base that was explored. Certainly, the related study was guided by four major
objectives which were set to collect fairy tales in Gogo language, to create the data
base of Gogo fairy tales, and provide an overview of the theory of communicative
genres. These were followed by the analysis of the linguistic and structural
communicative features of Gogo fairy tales.
This critical study has revealed that the Gogo fairy tales have huge and diverse
linguistic and structural features in narrating fairy tales. Also, from the data
generated and analysed in this study, it is concluded that Gogo fairy tales are rich in
communicative practices, that are used to shape the Gogo people in response to their
norms, attitudes and customs. Language used in Gogo fairy tales reflect the culture
of a Gogo society it enhances the aethetics and beauty of how their society is. For
fairy tales to be effective, these features must be applied o accomplish them. From
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these elementary features, it vividly shows that each community disposes a large
amount of repertoire of communicative genres in different patterns.
This study had revealed two techniques that were used in Gogo fairy tales.
Ultimately, both they are relying on the aspects of the linguistic and non linguistic
features. Further more, these are used as techniques in Gogo and Bantu
communicative genres. Obviously, they are deploying in using a Gogo language
with the purpose of providing their audience with clues about how adults want to
influence them. In fact, some scholars argue that all discourses depend on the
context. This is because of different discourse situations which exist in the
languages. They require different patterns of communicative practice that must
speak of discourses rather than of discourse (Gee, 1992). Indeed, because all
discourses take place in certain limited context, the producer of a piece of discourse
(speaker or narrator or writer) purposefully deploys and conveys in some time and
place provide the clear clues about his or her intention to be listened and interpreted
by their intended recipient(s) (audience). These produced clues have, generally, been
selected with that audience, in that time context of and place, and with those
purposes in mind.
5.3 Conclusion and Recommendations
As stated earlier in the proceeding chapters, the study has analyzed the Gogo
traditional narrations as communicative genres in Gogo society. It focused on the
area of fairy tales and the uses of Gogo language in narrating. The main purpose in
using the fairy tales for their generations is to control morals and values of their
community. Then, they are used to preserve their own culture for new coming
youths. In fact, the study has discussed the views expressed by respondents. Thus,
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the findings obtained in this study give out a real picture of what is being done in
Gogo community.
In fact, there are very few works documented about Gogo language and the problem
critically exists in linguistic perspective. Thus, it is hopefully that this work may
promote other scholars and researchers to conduct related researches in the area of
fairy tales and gender role in Gogo and other communities. It is a matter for the
empirical work in a historical reconstruction and linguistic creation that can raise
interest of other scholars and linguists per se.
Researchers and linguists may also do studies about the fairy tales in other Bantu
languages together to document and preserve them for longer last. Hopefully, the
present study will give out a critical and useful contribution on linguistic creation for
the coming scholars and linguists.
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APPENDICES
Appendix 1: Guiding Questions for Interviews
Dear respondent,
I, Salama Rashid Suleiman, would like to inform you that the purpose of this
interview is to gather information in order to accomplish the study of “THE GOGO
FAIRY TALES AS COMMUNICATIVE GENRES”. The study is conducted as
partial requirement for Masters Degree at the University of Dodoma. Please respond
to the provided questions freely, and rest assured that all information will be treated
confidential and will be used for academic purpose only.
Answer the following questions by putting a tick (√) in front of the answer you have
chosen and give out explanations where required:
Leading Explanations
1. Date:
2. Narrator‟s name:
3. Sex:
4. Age of respondent:
5. Marital status:
6. Occupation:
7. Level of Education:
8. The tales‟ name:
9. The composition of the audience:
1) What do you understand by the term Gogo fairy tales?
2) Can you narrate at least three Gogo fairy tales?
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3) If the answer in (2) is (Yes) please! Narrate them using Gogo language.
4) What is the importance‟s of Gogo fairy tales in new generations of Gogo?
5) What are the messages obtained in these fairy tales?
6) Do the Gogo fairy tales work properly in your society? If the answer is (No), what
are the reasons? If (Yes) Explain briefly how do they work?
7) What are the two methods that lead the degradation of Gogo morals?
8) Do you think that, the purpose of fairy tales is achieved? If the answer is (No) or
(Yes) then why? Give reasons.
9) Why the current generation‟s donot use these tales?
10) What techniques and tactics to be taken so as to ensure the Gogo fairy tales work
properly in the society?
12) What are the things to do to ensure that Gogo morals remain in our society using
fairy tales?
13) What are the techniques that are used to generate positive morals nowadays?
14) Are they applicable?
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Appendix 2: Leading Questions
1. What is the origin of fairy tales of Gogo society?
2. Who is the responsible and controller of Gogo fairy tales?
3. Who is the initiator of these narrations?
4. Who is the responsible to hold the people responsible when they misbehave?
5. What society ought to do to control the Gogo morals?
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Appendix 3: Steps in doing Transcription
1. Step 1: Turning in the work
2. Step two: Doing a first draft of roughly transcription
3. Step three: Read and understanding very well in careful the symbols
and diacritics signs of spoken data
4. Step four: Doing an interactional sociolinguistic transcription
5. Step five: Concentrate on conversational analysis notation
6. Step six: Work through
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Appendix 4: Diacritics and Structural Features that are Used in Gogo Fairy
Tales Transcriptive Analysis:
Adapted From: (Du Bois, Schuetze-Coburn, Cumming, & Paolino, 1993), (John
& Norine, 1993), (Atkinson & Heritage, 1999), (Cruttenden & Kuhlen, 1986)
and (Langford, 1994).
THE LAY OUT:
Bold, capitalized, double symbols, or underlined (Stress) all these
parentheses can represent the stress pattern.
Carriage return (intonation unit), this is a stretch of speech uttered under a
single coherent intonation contour. Nomally is used to indicate the end of an
intonation unit (Cruttenden & Kuhlen, 1986).
= simultaneous utterances, consecutively speaking, it indicates the continuity
speech.
[Simultaneously utterances: When two speakers start talking at the same time
their utterances are linked together by left hand brackets (John & Norine,
1993).
↑an upward arrow, it represents the raised in pitch.
↓ a down ward arrow, it indicates the lowering of pitch.
(-) Underlying, it allocates the emphasis. It applies in these extracts:
// this parenthes can be used as allocated in these extracts. They are working
in indicating the final fall, i.e a concluding fall either to show the end of a
turn or sometimes shows emphasis.
Characteristics of speech delivery: In Gogo transcripts; punctuation is used to
mark not conventional grammatical units but, rather, attempts to capture
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characteristics of speech delivery. For example, a colon indicates an extension of
the sound or syllable
(Atkinson & Heritage, 1999).
// // overlapping parenthesis, shows that speakers are talking simultaneously
(at a time).
[ ] indicates the overlapped speech. Similarly, this linguistic sign is used for
overllaping.
.. a pause of less than five (5) seconds / Pauses (.), and gaps (number)
between utterances, it timed in tenths of a second and inserted within
parenthesis, either within an utterance.
Pitch track, Gogo fairy tales are rich in using pitch track.
(,) A comma, it represents a pause in the stream of speech. (,) comma, it is
used to indicate the dropping of a gaze. The end of a gaze it is a starting
point of a new one.
(.) a dot in parenthesis indicates a micropause hearable but not readily
measurable, ordinarily less than (0.2sec).
? Raising tone or intonation. It indicates the raising tone of the speaker or
narrator; nomally it functions as emphasis on the utterance.
:: prolonging stretch or sound (when you use more colons is applying more
prolonging.
Underline (-) is a parenthesis which is working as a stress or emphasis, it
increases loudness or high pitch. Words of
(.),(..),(…) degree sign for quiet or soft talk. When you are using more signs
allocate more soften.
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- is a sign functions as a self interruption. It is a hyphen after a word or a
part.
Audible aspirations: (h),(hh),(hhh)
-aspiration. It represents the breathing, laughter,
(.hh) aspiration. It is used in aspiration with inhalation (raised dot) (hh).
{(hhh)}/ { } curly brackets are used in glosses to differentiate elided material
from overlap. Aspiration also is used for breathing.
{ } breath (the effect of a pause) or a gap of a silence. Both breath and other
sound are separated by a slash (/) it is written as {(hhh)} however sometimes
can be written as {(0.2)}.
( ) unclear phrases and doubts about actual words, it happens in a something
that is said but not hearing (empty parenthesis) this extract evidenced.
(a)/(uh) hearings of the same strip of talk are displayed by putting the
alternative hearings in parenthesis, separated by a single oblique or slash.
(bu::t) = (goo:d)= the degree marks show that the utterance is very soft. A
transcript remains indeterminate between “but” and “good” separarted by a
slash.
(xxx) Pausing and unclear utterances. This is a linguistic sign which is used
for unclear utterances.
(( )) interaction utterances:
It also represents the noises and vocalizations which are a part of the
context. i.e telephone rings.
It is similarly used in the vocalisattions that are not easy to spell out
like: (snort, sniff and cough).
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For special characteristics of talk: (falsetto, whispered and so forth)
[( )] overlapping utterances, it can be marked by left and right brackets. It
aims to show which parts of speakers occur simultaneously.
Capital letters (A, B, C) or CAPS: the parenthesis represents the use of apart
of utterance which is louder than the surrounding talk.
◦…◦ the degree sign, it is used to as a part of utterance which is softer than
the surrounding talk. This is evidenced in the narrations‟
=Latching: it represents one speaker immediately follows the speaker before
without any pause between two speakers. It marked by equal signs. It
happens after, the first speaker‟s utterances and before second speaker‟s
utterances.
= = double equal signs at the beginning of the latched word(s), are used to
indicate latching and as with overlapping can also be used with non-lexical
material.
= = This parenthesis also can be used within a speaker turn to show that a
speaker is latching his word(s) to what has just gone before. Gradually the
double square signs are entered in the left hand margin.
[hi] it indicates high pitch register. These extracts are some evidences from
the Gogo fairy tales.
[lo] it indicates low pitch register.
…/ (number) a pause of more than five seconds (long pause).
= it is used also for a single turn if the turn is interrupted by another speaker
but the first speaker continues their flow of speech.
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((word)) double brackets or parentheses. It stands for vocalisations which are
not easy to spell out as a word.i.e coughing, clearing a throat, snort, sniff,
footsteps, and long silence. Such narrations are:
(TEXT) it indicates the non-verbal sounds produced in vocal cords or tracts
of speech event in participants.it may be coughing, throat, clearing, tongue
clicking (snort, burp, gulp, swallow), breathing, sniff and yawn. Nomally it
is written by capital letters. Such examples: refers to above.
[ ] Sometimes, it can be used this parenthesis [word].i.e [clear throat].non-
lexical phenomenon, vocal and non-vocal which interrupts the lexical stretch.
(( )) it is used for special characteristics of talk, like: (falsetalk),(whispered)
> < less than brackets, it is speeding up the pace of delivering, the part of the
utterance which is speeded up.
((Pause)) untimed gaps between utterances are described with double
parenthesis and inserted when they occur. Sometimes it can be used the
following parenhesis. (-) Ashort untimed pause within an utterance is
representning using a dash.
// phrase boundary markers, it is adouble slash which indicates a final fall, i.e
a concluding fall either to show the end of a turn or emphasis.
. Distinctive pronounciation
/ A single slash, is a slight fall which may end the turn or suggest there is
more to come. The sign shows the direct direction of the pitch movement if it
is rising, lowering or moderate. It is depending on the specific pitch level of
the movement.
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(,) a comma, used in slight rise to indicate the continuation i.e for a list or to
show that more is to come.
::: lengthening segment, it is used more in Gogo fairy tales. These tales are
actually have used the various lengthening segments in narrating.
~ Fluctuation over one word. The parenthesis is very rare existing in Gogo
fairy tales. These are examples:
(H) Throat, (H) In halation, it indicates the audible inhalation with a capital
letter “H”
In linguistic field the sign is indicating audible inhalation or throat coughing.
Capital letters indicate the loudness
( ) an empty bracket represents:
a long pause
Pausing
Unclear utterances
[Left hand bracket used in simultaneously utterances for speakers who speak
at a time.
[ ] left and right brackets used for showing which parts of speakers occur
simultaneously.
Can be used overlapping utterances
Latching (=) used for one speaker immediately follows the speaker before
without any pause between two speakers. It stands after first speaker
utterances and before second speaker‟s utterance.
Used also for a single turn if the turn is interrupted by another
speaker. However, the first speaker continues his flow of speech.
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Used if whether there are more than one speakers latches on to the
previous utterances.
Double brackets (( )) used if whether there are more than one speakers
latches on to the previous utterances.
The left and right hand brackets [( )]
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Appendix 5: Linguistic Variations from Gogo Language and Standard Swahili
Pronounciation
Ci: is an utterance which indicates the word „CHI‟ example: cigogo = chigogo
Lya: this utterance stands for the word that means la.
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Appendix 6: The Harmonization of Orthography from the Bantu Languages
Specific in “Gogo Language” Of Tanzania
Rules in writing
The writing system for the Gogo language of (Dodoma) Tanzania
uses the Roman alphabet consisting of five vowels and twenty four
consonants.
The short vowels will be represented by a single vowel: a, e, i, o, u. in
contrast the long vowels will be represented by doubling the vowel
sounds.
The Vowel length is predictable; a short vowel will be used normal.
Combinations of two sounds consecutively used to represent some of
the sounds; like: ch, ng‟, nh, ny and others. At this context sound like
ch is used for [c], example: chigogo-cigogo
The sound “h” is used to indicate voicelessness in the nasal
consonants, such as: mh, ngh, nh, nyh, ng‟h: nyhende, nhembo,
nhtamigwe and nghambi
Tone is an important grammatical feature in Gogo language however
it does not marked by.
The Gogo language is being written conjunctively format; example:
yakugogomoka.
Demonstratives should be written as a separate word; e.g. mtu huyu
(Swahili), munhu gwegwe (Cigogo).
Question phrases should be independently used, except for
exceptional case, when they are reduced to clitics at the end of
another word.
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Appendix 7: The Sample of Data (Gogo Fairy Tale)
The following narration shows the sample of our collection of Gogo fairy tales that
were collected by a researcher, Salama Rashid Suleiman. Additionally, the story
shows how the Gogo language is used in fairy tales. This encorporates with the
linguistic and structural features contained with.
Narration four
Gogo Language: Isimo Lya Matandika
Swahili Language: Hadithi Ya Matandika
English Language: The Story of A Man Whose Name Is Called Matandika
The story was collected and written by a researcher whose name is Salama Rashid
Suleimann. She took it from the narrator who is called Rebbecca Nongana
Samamba at Kizota Hombolo village at Dodoma region, in the year 2017. She is a
female who is living at (Kizota) Hombolo village at Dodoma Region. She has 102
years old. She is married with children and grandchildren. Her occupation is a
farmer. She has never gone to school. Additionally, this work was being conducted
by Twenty five (25) people of both sexes (males and females). This story is a
version number four; the date of collection is December, 2017 at Hombolo village.
In Gogo transcription
Matandika(0.2)Matandika=yasola=ganaiyya=bene=nyumba=za=wanhu(.)//mmm//y
akusola=Mmenee(.)//mmm//mene=za=wanhu(.)//mmm//na=ndo=yakamala=mwezi=
//mmm//yakusola=mbene(.)//mmm//ndo=siku=hiyo=ikawa=jumapili=nyekiyo:{(hhh
)}//mmm//wele=jumatatu(.)//mmm//audience asked((asking a
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question))bibi↗=muele=gaga=hu?aahh.( )uca:(.)audience asked [( )]
bibi=mbene=kalagahai=pumbago?eeee↗uya=aaaa↑( )kori::-
iitenkuno=li:gwee[()]iiii↑(.)hodu=kohi::gwei=akulee↗=-
kutamaSWani(0.5)//mmm//(())iiiii↗hodu=holiliGwei=kono=ligwe(.)//mmm//senjeke
=nailya=mulungu=//mmm//alu{(hhh)}=kweli=mulango(.)//mmm//usagea=yakuhita(.
)//mmm//mutendikuno=nani=wakusola=asokuwona=mhenga(.)//mmm//na=ndo=sik
u=hiyo=waka-
waka{(hh)}uchenga=uwanja(.)//mmm//nyakuchenga=kahulule(0.3)//mmm//nanilya
=kutiya=mchenga(.)//mmm//hodu=yakamanha=wanhu(.)//mmm//yakabita=mulula(.)
//mmm//yaliyabita=muhula=na=ule=mchenga(.)//mmm//wakaja=mchenga=yamuhiy
a=muhita(.)//mmm//yahitare=mukene=ntiyatya(0.2)//mmm//wakatyatya:::mpaka=ku
ko=kibwenuni(0.3)//mmm//waliwafika=hacihebwee↗//mmm//wakaKusanyika=yaku
lunuka(.)//mmm//yawamanha=yatii:te.//mmm//yakate-
vumilia=//mmm//yakatii:ta=wakutayalalamika=nayo(.)//mmm//wakasonga=wakama
nha=wakamanha=wakaTOlya(.)wakamuu:laga//mmm//(.)hono=mahulagahaya=wak
utya=arubahai=hayi(.)//mmm//wakalyiyondolo=mulango=wa=muperaa↑//eee//yeku
mubitiche↓=munhu=hayi=wakalondola=mulango=wa=mupera:wakamuzika(.) mm
m alu=yule=kala=myiaka=yiii↑miha:::yo↓(.) mmm hodu=wa=nyanDugu=wakaM
manya=tono=kahulile:{(hh)}ye=yoyahita=munhu=yuye=yakatoya=yakabita=kutajil
a=muhanga=yompela(0.2)//mmm//kila=wabaHo=hodu=waKawa=kwanza=Kwimba
(0.4)waKa=kwanza=kwimba(0.2)//mmm//wapolisi=wahon=na(
)=wapolisi=wakaku:za=wakalondola:::(0.4)wakagana=mU~=musina=cocose=kuma
nga=yompera(.)//mmm//(audience
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asked)[()]bibii↗mango=yolo=yayidinda?↗aaa:wapi,~hono=wadinda=nacisi{(h)}nac
isanzu(.0.2)yamunhu=tena(.)//(( ))
wakaturuka=koko(.)waliwalabita(.)//mmm//wakaM{(hh)}wakaweBata(.)//mmm//ka
Hulule=wakamleta=kuno(.)//
//mmm//kwa=mtemi=Te:tero↓(0.2)//mmm//wakishamuleta=kwa=mtemi=Te:tero=//
mmm//wakwishamleta=kwa=mtemi=Te:tero(.)kahulule=Te:tero=kutakaka:ene=sim
anyire↗(.)//mmm//nalimpakani://eeeh//anenise=simanyile(.)//eeeeh//zemilemwido=
mung‟aRirya(0.2) mmm zemilemida=zimanyira(.) mmm wapolisi=wahaza=hedo
ma=haja(.)//mmm//(
)(.)wachaKa=kachaka=yuno=hulaga=maSea(.) mmm kenhee↑ mmm hopekelewa
kacha=lemkenea=ane=simanyire(.)//mmm//wachaka=Hulule,=Mulula=,Chilewa=
Mazengo(.)//mmm//wanhu=hhawa{( )}audience =wane[
(.)//mmm//howanya=kuchenga=kwani=tokelebabayahowaulago munhu
uyo(.)hodu=wakabita{( hh)}=wakabita=webata=alu=wa:Kwimba↓.
Una=habari=gani=mtemi=wapolisi=wakuluza:::=
=mwalimwi=mwilomwilamwidong‟a::nikamanyee::maSea=mo:nya=monagwe:(.)((
))/(xxx)(audience asked)wejelaule=kunachelaule?=kenechilonge(.)=
=sililongagwe::=hae::↗=
=nalimpakani:[(xxx)]=sinajine=risase=yegulu=yegulu(xxx)=
=muwauzaje=walonge:=konowanue=holaJe=muwauzaje=walonje:::=
=balua=ikulongagwe=hae:::=balua=ikulonga=we:::=we:::=
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=balua=ya=mulungu=ikulonGa(0.2)Matandika=kwe::kaulule=wamulula=jirani=pa
ko=polini(.)= =ao:::mpoli:://=
=yatuma=tumi=weskari=yamgomba=wawasekulanGa(.)=
=yatuma=tumi=weskari=yamgomba=wawasekulanGa(.)=
=muhula=yale=baho::=yamjenda=yakulonga=simaafungwe=kamuu↑le
muno=yachongolwa =yusima=kunele=
=babu=na=mganga=walimuu↑Wa=munhu↓(.)wenda=wa=kenda=wa=mazok=muper
a
=nalundike=wala=wona=kon=waliko=munhu(0.2)Mazenga=yakuzila=gwe:::=yamu
mazingira=yalidodomyA={(hhh)}yagulile=yagakwe{(hhh
)}kilea=mwana=chungua=yangu=mkuya=
=mwana=chungua=yangu=mkuya,=
=mukala=mse=wanangu=walece=kuyila,(.)ilimwangoye=ilimwangoye=welimangoy
e=mulungu==mwenye=choyo=yamanyile=mlangi ya=mwenye=ya=kulonga(.)=
=kayila=mnomnogwee=katema=mnunguye=wasogwe=
=wafundi=wa=miselo=nyamkeke=yale=baba=nilimjela=eee:::↗idodomya=wenjelee
:::=nyumba=eee:::=wazungu=konde(.)//mmm//hane=baba=eee:::fundi=munamucele
==mukagone=kuzima=ngoo=zenu:::↓funmi=dodo=inya=magome=zo:::honekako=b
aBa(.)
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Mtulie:::mlungugwe=wa=Mazengo:::=ye=katare=yukonga=wana=masea=walimwi
ngira=nanene=china=cidewa: yakwira=yunakwe=hono=mnamtaka=mie=hae:::((
))iyo::(..)//
audience asked(( ))mwenginega=huudo:::le?answered, yuavinaga=ni:ndo(0.3)//
mmm//sikanyagala=ndala=kule(.)//((conversation))//.
In English version
MATANDIKA: once upon a time! There was a man whose name is called
Matandika. He was a very thief. Always he was lived and depending on other people
energy. People were very exhausted with his characteristic of taking other people
things and harassment. He had done this during the time where villagers were in the
farms. Most of time has stolen things like: goats, cows, rabbits, maizes millets, and
other benefited materials for foods.
Generally his full life was to take other people materials. Matandika soon after
taking the products he sent them to his settlement in forest‟s cave. Surely people
were exhausted with him.
One day it was Sunday, villagers were not going to their farms. They were there for
worshipping in church. Matandika went to an elder‟s house and had stolen maize‟s
flour and goats. Then the moment after went away very fast, the elder shouted
loudly a thief! Thief! Thief! She didn‟t stop shouted more and more for so many
times. Suddenly people met in the village, he run away very fast to his settlement in
cave. People confused! They didn‟t know what to do. They met together and
searched solutions. Fortunately one man decided to fire the cave, all were agreed and
happy. Hence they fired the cave and danced outside. Half an hour past! Matandika
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came out and villagers catched him. They had beaten him till he died. Thereafter
they buried him under the cave where he had lived. The moment after people had
gone back to the village.
Four days past! Villagers went to see him in cave, unfortunately they didn‟t meet
him. He ran away in the same village. People shocked! While they were on the way
they met him alive. Minds had beeen shaked. They set down and done village
meeting. The conclusion was to catch and send him to the chief. The villager‟s
leader his name was called PETE. They took him to the chief Pete for punishment.
The chief argued that he must be send him to the segregated neighbour village so as
to to be killed. The village was called Masea. Chilewa, Mulule, Mazengo and Chile
went with him to Masea. They were very happy. There Matandika judged and
suicided.
Finally the police came to the village and catched those people who participated in
murdered Matandika. They sent them to the court and stayed there for years.
This is the end of my fairy tale!
