Non-Diegetic Characterisation in African Film Music: A Case of Jerusalema and Viva Riva
Gabriel Thuku Kimani 
& Madimabe G. Mapayae
Issue: Vol.6 No.12 Article 21 pp. 3175 -3186
DOI: https://doi.org/10.38159/ehass.202561221 | Published online 27th November, 2025
© 2025 The Author(s). This is an open access article under the CCBY license (http://creativecommons.org/licenses/by/4.0/).
This study examines how music functions as an autonomous narrative force that creates non-diegetic characters in African cinema, challenging traditional conceptions of film music as mere accompaniment. The research employs qualitative textual analysis methodology to investigate the interplay between music, lyrics, and narrative in two contemporary African crime films: Gangster’s Paradise: Jerusalema (2008) and Viva Riva (2010). Through detailed examination of musical compositions, lyrical content, instrumentation, and socio-historical contexts, this analysis reveals that music operates on two distinct levels of characterisation: explicit characterisation through lyrical personas and implicit characterisation through composers’ socio-political perspectives. The findings demonstrate that musical elements introduce additional narrative agents, including lyrical voices, instrumental motifs, and composers’ ideological imprints, that function as independent characters within the cinematic discourse. These musical characters, exemplified by figures such as the proud mother in Brenda Fassie’s “Vulindlela” and the disillusioned lumberjack in Franklin Boukaka’s “Le Bucheron,” provide socio-cultural commentary that enriches narrative complexity beyond visual storytelling. The study concludes that music in African cinema transcends traditional background scoring to become a vital narrative tool that embeds social memory, cultural identity, and political critique into cinematic expression. This research contributes to African film scholarship by establishing a theoretical framework for understanding music’s characterization potential and advocating for recognizing musicians as implicit narrative collaborators in contemporary African filmmaking.
Keywords: Film Music, Characterisation, Musical Persona, Musician, Sonic Elements, Sonic Narration
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Dr. Gabriel Thuku Kimani is an African scholar, filmmaker, researcher, sound designer, consultant and higher education expert. His research explores African cinema, sound, theatre, education and indigenous aesthetics. He is a published author and curriculum developer dedicated to reimagining education and storytelling through the lens of African philosophy. Thuku blends scholarly depth with creative practice to shape ethical, culturally resonant approaches to media production and theory across the continent. He holds a PhD in Arts and Social Sciences and currently serves as an adjunct professor and Research fellow at the University of Venda and Principal Lecturer at the Kenya Institute of Mass Communication, Nairobi.
Prof. Madimabe Geoff Mapaya is a South African scholar, musician, and expert in African musicology. Holding a PhD in African Studies from the University of Venda, he led the university’s Music Department for fifteen years and helped found the Indigenous Music and Oral History Project. His work advances “Ordinary African Musicology,” a framework that centres African epistemologies and everyday language in music scholarship. Mapaya is also an accomplished performer, with several albums and collaborations with major South African jazz artists. In 2025, he played a founding role in establishing the African Musicology Institute (AMI) at UNIVEN, where he serves as the Director.
Kimani, Gabriel Thuku, and Madimabe G. Mapaya .“Non-Diegetic Characterisation in African Film Music: A Case of Jerusalema and Viva Riva.” E-Journal of Humanities, Arts and Social Sciences 6, no. 12 (2025): 3175 -3186, https://doi.org/10.38159/ehass.202561221
© 2025 The Author(s). Published and Maintained by Noyam Journals. This is an open access article under the CCBY license (http://creativecommons.org/licenses/by/4.0/).
