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This section does not any. Unsourced material may be challenged. ( March 2018) The music industry in Tanzania has seen many changes in the past ten years.
With a mix of influences from other countries along with the original feel of local musical traditions, Tanzanian musicians have become some of the best artists in East Africa. From artists such as Dionys Mbilinyi, Sabinus Komba and many others, to new artists in R&B, pop, Zouk, Taarab and dance music. Art musicians include:.
Mr. Main article: Taarab is a popular genre descended from Islamic roots, using instruments from Africa (percussion), Europe (guitar), Arab Middle East ( and ) and East Asia. It is sung poetry and are a constant part of wedding music, and is associated with coastal areas like and, as well as with neighboring. Taarab is often said to have an origin, due to the long-term popular of the.
While the Egyptian influence is undeniable, coastal East Africa is a cultural melting pot and has absorbed influences from across the and even further abroad. The first taarab superstar, the first Swahili superstar, is. Beginning in 1928, she and her band were the first from the region to make commercial recordings. Over the next several decades, bands and musicians like, and kept taarab at the forefront of the Tanzanian scene, and made inroads across the world. Ensembles grew popular, at least among the poor of Zanzibar, featuring two small drums, bass, violins and dancers using.
More recently, bands like have emerged, as has related backbiting songs for women called. The 1960s saw a group called the, from, modernize the genre and brought it to audiences far afield, especially. Is a fusion of tunes sung in rhythmic poetic style spiced with general. It is an extremely lively art form springing from a classical culture, still immensely popular with women, drawing all the time from old and new sources. Taarab forms a major part of the social life of the Swahili people along the coastal areas; especially Zanzibar, Tanga and even further in and along the Kenya coast.
Wherever the Swahili speaking people travelled, moved with them. It has penetrated to as far as, and in the interior of East Africa where taarab groups compete in popularity with other western-music inspired groups. Tanzania was influenced heavily after the 1960s with the influence of African. Tanzanian soldiers brought back with them the music of these cultures, as well as and European music, when returning from World War II. These musical influences fused and brought together the Tanzanian people.
Eventually the country and its people created its own style of music. This style, called 'Swahili ' is a mix of beats and styles of Cuban, European, Latin and African music. Swahili jazz gave Tanzania a sense of independence and togetherness as a country. These days a taarab revolution is taking place and much heated debate continues about the music which has been changed drastically by the East African Melody phenomenon. Melody, as they are affectionately known by their mostly female fans, play modern taarab, which, for the first time, is 'taarab to dance to' and features direct lyrics, bypassing the unwritten laws of lyrical subtlety of the older groups such as Egyptian Musical Club and Al-Wattan Musical Club where meaning to their songs is only alluded to, and never directly inferred. Today, taarab songs are explicit - sometimes even graphic - in sexual connotation, and much of the music of groups like Melody and Muungano is composed and played on keyboards, increasing portability, hence the group is much smaller in number than 'real taarab' orchestras and therefore more readily available to tour and play shows throughout the region and beyond.
History of Tanzanian popular dance music ( dansi). Main article: The first popular music craze in Tanzania was in the early 1930s, when was widespread. Young Tanzanians organized themselves into dance clubs like the, which was founded in 1932. Local bands at the time used brass and percussion instruments, later adding strings. Bands like and were formed (despite the name, these bands did not play ). Competitions were commonplace, a legacy of native societies and colonial. Independence came in 1961, however, and three years later the state patronage system was set up, and most of the previous bands fell apart.
Musicians were paid regular fees, plus a percentage of the gate income, and worked for some department of the government. The first such band is the, which worked for the. The 1970s saw the popularization a laid-back sound popularized. These groups adopted the motto 'Kamanyola bila jasho' ( dance Kamanyola without sweating). Maquis hailed from in southeastern, moving to Dar es Salaam in the early 70s. This was a common move at the time, bringing elements of from the Congo basin. Maquis introduced many new dances over the years, including one, (from their 1985 hit 'Karubandika', which was so popular that the term has become synonymous with dancing.
Popular bands in the 60s, 70s and 80s included, who were the first to add electronic instruments to dansi (in 1987) and, led. Rivalries between the bands sometimes led to chaos in the scene, as when lured musicians from Mlimani Park and disbanded the wildly popular in 1985, forming the. International Orchestra Safari Sound was briefly popular, but the Orchestra Safari Sound was revitalized by (formerly of ), who became bandleader in 1991; this new group lasted only a year. The most recent permutation of Tanzanian dance music is. Bands like, and are among the pioneers of this style, which uses four drums and a keyboard for a sparse sound. Loudness is very important to the style, which is usually blared from out-dated speakers; the resulting feedback is part of the music. The origin of the style is Zaramo wedding music.
Reggae and hip hop. Main article: After Tanzania gained its independence, the leaders of the country failed in their mission to produce a successful economy. Structural Adjustment Programs were put into place, which mimicked the same colonial practices that the country attempted to free itself from. Tanzanian youths turned to crime in order to survive. “It is not surprising that most Tanzanians viewed these conditions, especially the rise in crime, and the almost simultaneous rise or rap music, as a single phenomenon. The political establishment and older generation did not accept rap music or uhuni music- since it became synonymous with disruption and anti-social behavior. Yet for the younger generation, traditional Swahili music did not address contradictions of the ‘liberalized’ Tanzanian economy.” In 1991, Tanzania hosted a hip hop competition called 'Yo Rap Bonanza.” While most rappers were performing American songs word for word; Saleh Ajabry, a Tanzanian, wrote his own Swahili lyrics to a song based on Vanilla Ice’s “Ice Ice Baby,” and won the competition.
Dar es Salaam's is the first Tanzanian crew, but technical limitations hindered commercial success. And are the most famous Tanzanian rappers; Mr II's (then known as 2-Proud) 'Ni Mimi' (1995) is the first major hit for the field. Groups like have moved away from American-style hip hop and incorporated vocal styles and other Tanzanian musics. Tanzanian hip hop is often called as Bongo Flava. Global popular culture, particularly U.S. Hip hop, has played a major role in influencing Tanzanian culture since its independence.
This is most evident among Tanzanian urban youth, who have absorbed global hip hop music and produced their own varieties. With the increased mediatization of Tanzania in the 1990s, Tanzanian urban youth have had more access to hip hop music, and the incorporation of global culture has become more prevalent and visible in urban Tanzania, not only in the music, but also in fashion, food, dance, and sports.
Hip hop has essentially provided Tanzanian urban youth and young adults with a means of expressing themselves and forming an identity, such as the conceptual identity of msafiri (the traveler), a classic subject borrowed from Swahili lore, and a recurrent theme in Dar hip hop. While Tanzania hip hop is influenced by American hip hop it is also distinctly localized. Whereas American Hip Hop is the product of black urban youth and heavily influenced by race, Tanzania took root in the slightly better off part of the city with those that more access to the Western world. Furthermore, Tanzania hip hop artist saw themselves as distinct from American artists in that they focus more on economic issues and less on violence' ' Rapper Sam Stigilydaa put it poignantly when he said, 'American rappers talk about crazy things-drinking, drugs, violence against women, American blacks killing blacks.
I hope African doesn't turn crazy' Because of the massive hip hop artist and fan base in Northern Tanzania's Arusha city, today this is termed as East Africa's Hip hop capital. Artists such as spark Dog Malik, JCB, Watengwa, Chindo aka Umbwax, Donii, Wadudu wa dampo, Jambo Squad, Nako-to-nako, Weusi and many others who are heading Tanzania's hip-hop music are from this City.
Other modern styles is the most popular and original musician of Tanzania, also there is a greater influx of musicians from the (formerly Zaire), who were entering the country as refugees and made residence in the country. But in recent years, mainly from the mid-nineties, new generation of musicians has emerged and are coming up with popular tunes which are Tanzanian in composition. Bands like Twanga Pepeta have managed to carve a new tune distinct from imported Zairean tunes, and are competing with Zairean bands in popularity and audience acceptance. Is the first major reggae star in Tanzania, beginning his career with in 1985.
Newer artists in the field include the and, who includes songs in and Swahili and uses indigenous rhythms. At present, is considered as one of the most known reggae musician from Tanzania. Ras Nas combines reggae, afro and dub poetry. His latest release 'Dar-es-Salaam' contains eight tracks. Many musicians work in bands that play at a hotel, usually led by a keyboard and including a rock-based sound.
The is perhaps the most respected of these hotel bands, along with. Freddie Mercury.
Singer born in Tanzania, born Farouk Bulsara into the community of, later moved to England and rose to worldwide fame as the lead, and a and instrumentalist, of the. He died on 24 November 1991.
Efforts to honour his life and work on the 60th anniversary of his birth were abandoned in September 2006 following the protests of a group on the archipelago, who said he had violated Islam with his openly gay lifestyle. Distribution and access to music The mushrooming of FM music stations and reasonable production studios has been a major boost to the music industry in the country.
Contemporary artists like, and many others command a huge audience of followers in the country and neighbouring countries. More information about Tanzanian music and events can be found on the various web portals that have sprung up recently. Tanzania has an enormously high growth rate for internet technologies, estimated at up to 500% per year. Because costs for computers are still quite high, many users share connections at internet cafes or at work., and all are part of an increasing number of websites dedicated to the region. Digital are mostly done by free download websites and music platforms like iTunes, Google Music etc.
Archived from on 15 May 2006. Archived from on 10 November 2006. Archived from on 2005-04-15.
Retrieved 2005-04-15. CS1 maint: Archived copy as title. Lemelle, Sidney J. “‘Ni wapi Tunakwenda’: Hip Hop Culture and the Children of Arusha.” In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. By Dipannita Basu and Sidney J. Lemelle, 230-54.
London; Ann Arbor, MI: Pluto Pres. 2008-04-03 at the, 2005. Remes, Pieter. 'Global Popular Musics and Changing Awareness of Urban Tanzanian Youth.' 31 (1999), pp.
^ Lemelle, Sidney J. “‘Ni wapi Tunakwenda’: Hip Hop Culture and the Children of Arusha.” In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. By Dipannita Basu and Sidney J.
Lemelle, 230-54. London; Ann Arbor, MI: Pluto Press. James Astil, 'Tanzanian rap breaks free of past,' Guardian (London), February 3, 2001, P.18. Dembi, Lola. Check date values in: date=.
Graebner, Warner. 'Mtindo - Dance With Style'. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 681–689.
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Askew, Kelly M. Performing the Nation: Swahili Music and Cultural Politics in Tanzania. University of Chicago Press. External links. Accessed May 11, 2017.
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