Matatu Design Culture in Nairobi Kenya: An Iconological Analysis

Abstract

The Kenyan transport industry is synonymous with customised design solutions that can be identified mainly by use of graffiti and enhanced interiors aimed at meeting the transport needs of the urban consumer (Johnson, 2013). There are however hardly any scholarly articles that give a critical analysis of the aesthetic aspects of ‘Matatu’ design culture. This may be attributed to the view that matatu design culture is thuggish and glamourizes violence (Johnson, 2013). The main objective of this research was to address this problem by documenting the iconography of ‘Matatu’ culture using iconological research techniques. The iconological analysis methodology is used mainly to uncover themes and subjects found in the visual arts (Staten, 1994). A firm understanding of themes enables a designer quickly figure out what is missing in their design work (Grace, 2012). This research therefore helps designers and other interested stakeholders understand themes used in ‘Matatu’ design culture. This will enable them to creatively build on existing themes as revealed in this study to improve the culture. The Matatu design culture is unique to Kenya and new geographical locations or transport trends may borrow from the findings of this research leading to the growth of the Matatu culture. The Matatu culture has also been threatened by frequent bans and strict legal guidelines by the government and introduction of alternative forms of public transport such as bus rapid transitways (Jehnsen & Scott, 2017).This research helps in documenting the culture before it becomes extinct. .The first step as per iconological analysis methodology used, was to identify the various visual design elements used in the matatu design culture. The second step involves analysing the visual elements. In the process artistic motifs are linked with themes, concepts and the conventional meaning is identified. At the last step, the themes or ideas the artist communicated intentionally or subconsciously was decoded and articulated as appropriate. vi Matatu vehicles, matatu designers, public transport users and entrepreneurs who have invested in the matatu culture within Nairobi constitute the study population. The sampling technique adopted for identifying the study population was a combination of purposive and snowballing sampling techniques. A semi-structured questionnaire helped in gathering in-depth information concerning the study. The questionnaire had two sections. Section one entailed questions for travellers using ‘Matatus’ while section two entailed questions for Matatu operators or owners and designers. Section one of the questionnaire was administered on social media sites such as Facebook, telegram, and WhatsApp groups targeting respondents living in Nairobi. Section two was administered both on social media sites and in the form face to face interviews. An analysis of the questionnaire revealed that ladies were the least interested and conversant with Matatu design culture in comparison with their male counterparts. Matatu operators and owners also provided more detailed information that helped in the aesthetic analysis of the ‘matatus’. Iconological analysis methodology used was able to achieve the objectives of the research. Visual design elements were identified and their symbolism explained. Finally, the design concepts were grouped to their specific thematic context.