This thesis takes on an inter-disciplinary approach to examine the extent to which the state of Kenya used the genre of portrait photography to create a sense of nationhood after independence. I...Show moreThis thesis takes on an inter-disciplinary approach to examine the extent to which the state of Kenya used the genre of portrait photography to create a sense of nationhood after independence. I take on the theory of nation and nationalism as a framework to discuss and visually analyse the portraits of Kenya's four president and citizens portrait in the form of identity photography. By first establishing how modern-state Kenya came into being, the discussion set a premise to the motivation behind the study. The first chapter analyses the standardised official presidential state portraits, their materiality, physicality and their symbolism to communicate a change of leadership in Kenya. The second chapter investigates the 'self-fashioned' portraits of the presidents which take on different aesthetics and visual codes creating different meanings and therefore are interpreted using other references. The last chapter is a shift from 'honorific' portraiture of the presidents to the 'repressive' class of the sitters- the citizens. This chapter investigates citizen's portraits used in the colonial times to control movements of labourers and surveillance and how it is now used as a form of document of National Identification. This thesis argues that all the mentioned kinds of portraiture contributed to disseminating the idea of nationhood.Show less
