Bongo Flava 2000 Download //TOP\ Video

Let's take you back to the 2000s, where the likes of T.I.D, Matonya, Lady Jay Dee, Mr. Blue, Marlaw, Dully Sykes, Ray C, AY, and even a young Ali Kiba were revolutionizing the scene with every hit song they released. This era of bongo music blessed Swahili speakers with timeless music that we can jam to for many years to come.

Believe me or not the old bongo Hip hop was hot like never before, we miss a very fantastic old skull, get cool and enjoy this playlist consist of all hits of real old time since 1990s up to 2000s. Remeber hot crewz of centuries such as Wagumu Weusi Asilia (W.W.A), Bantu crew, Kwanza Unity (KU), Hot pot family, Hard Blaster Crew (HBC), East cost team (ECT) etc.

Bongo Flava 2000 Download Video

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Bongo Flava is a nickname for Tanzanian music.[1] The genre developed in the 1990s, mainly as a derivative of American hip hop and traditional Tanzanian styles such as taarab and dansi, with additional influences from reggae, R&B, and afrobeats, to form a unique style of music.[2] Lyrics are usually in Swahili or English, although increasingly from mid 2000s there has been limited use of words from Sub-Saharan African music traditions due to the influence of Afrobeats and Kwaito with their dynamics usage of West African Pidgin English, Nigerian Pidgin or other Creole language.[3][4]

The name "Bongo" of Bongo Flava comes from Kiswahili usually meaning brains, intelligence, cleverness but can also mean mentally deranged.[5] Bongo is the augmentative form of Ubongo, Kiswahili for Brainland.[6] Flava is a Kiswahili term for Flavour.[6] Ubongo is a term originally use, and in Tanzania still used, for the city of Dar es Salaam.[5] Outside Tanzania, Ubongo is often referring to Tanzania.[6] Ubongo as a term originated from a speech by President Nyerere in the late 70's during a very difficult time following both the global fuel shocks of the 70's and the Kagera war against Uganda. Mwalimu Nyerere spoke that only a nation using brains (using Kiswahili Ubongo for Brainland) could, and would, overcome the difficult challenges Tanzania was facing. Unfortunately things became even worse for Tanzania, and by the early 1980s Dar es Salaam was calling itself mostly by the name Jua Kali (hot sun/world is spinning/dizzy) but also Ubongo. The term Ubongo was being used as a clever way to say both, survival in Dar es Salaam required brains and intelligence, but was also full of mentally deranged people.[5][7]

Today, "Bongo Flava" is the most popular musical style amongst the Tanzanian youth,[16] something that is also reflected in the vast number of TV and radio programs dedicated to this genre as well as the sales figures of bongo flava albums.[17]

While "Bongo Flava" is clearly related to American hip hop, it is also clearly distinguished from its Western counterpart. As the bongoflava.net website puts it, "these guys don't need to copy their brothers in America, but have a sure clear sense of who they are and what sound it is they're making". The sound "has its roots in the rap, R&B and hip hop coming from America, but from the beginning, these styles have been pulled apart and put back together with African hands". Recently, with the increase in popularity of Afrobeats in East Africa most Bongo flava songs have adopted the sound especially the 3+2 or 2+3 drum pattern of afrobeats but retaining the arabesque melodies of taarab thus resulting to a reduction of hiphop influence in the genre.[23]

The typical "Bongo Flava" artist identifies with the mselah. It is in this sense that, for example, members of the hip hop crew Afande Sele call themselves watu pori, i.e., "men of the savannah". A sort of manifesto of mselah ideology is given by the song Mselah Jela by Bongo flava singer Juma Nature, who defines the mselah, amongst other things, as an "honest person of sincere heart".[24] Following the tradition of western hip hop (as represented by the pioneering hip hop group Afrika Bambaataa), bongo flava lyrics usually tackle social and political issues such as poverty, political corruption, superstition, and HIV/AIDS, often with a more or less explicit educational intent, an approach that is sometimes referred to as "edutainment".[25] Afande Sele, for example, have written songs that are intended to teach prevention of malaria and HIV. However, this has changed in recent years and increasingly many commercial Bongo Flava songs deal with topics such as love, heartbreak, success and hardship. This change in topic remains a point of contention between the earlier generation who saw the rise of Bongo Flava, and the new generation who tend to prefer catchy and club ready songs.[26] Whether this is due to globalisation and western influence or due to a change in listener's taste, is the question at the centre of the debate. Some Bongo groups are very popular within their ethnic group; one example is the Maasai X Plastaz who developed their own subgenre known as "Maasai hip hop".[27]

As it is in other countries, the music in Tanzania is constantly undergoing changes, and varies by location, people, settings and occasion. The five music genres in Tanzania, as defined by BASATA are, ngoma, dansi, kwaya, and taarab, with bongo flava being added in 2001.[1][2] Singeli has since the mid-2000s been an unofficial music of uswahilini, unplanned communities in Dar es Salaam, and is the newest mainstream genre since 2020.[3]

Bongo flava is Tanzanian pop music originating in the early 2000s from muziki wa kizazi kipya, meaning "Music of the new generation", which originated in the late 1980s. Kizazi kipya's dominant influences were reggae, RnB, and hip hop, where as the later bongo flava's dominant influences are taarab and dansi.[9] Three recent influence on bongo flava are Afropop in the 2010s, as well as amapiano from South Africa and singeli from Tanzania, both since 2020.[10][11] Singeli is a ngoma music and dance where a MC performs over fast tempo taarab music, often at between 200-300 beats per minute (BPM) while females dance. Male and female MCs are near equally common, however styles between MC gender typically differ significantly. Male MCs usually perform in fast paced rap, while female MCs usually perform kwaya.[3]

From independence until 1993, all recording and distribution of music was strictly managed by BASATA, primarily through Radio Tanzania Dar es Salaam (RTD).[12] Only the 4 Tanzanian genres were permitted to be recorded or broadcast, which at the time was ngoma, taarab, kwaya and dansi. The Broadcasting Services Act of 1993 allowed private broadcast networks and recording studios.[13][14] In the few years prior to the 1993 Act hip hop had been getting somewhat established in Dar es Salaam, Arusha and Mwanza. It was transitioning from English performances of hip hop in originating in uzunguni, rich areas like Oysterbay and Masaki with the international schools, to Kiswahili performances of kizazi kipya, originating in uswahilini[15] Following the opening of the radio waves, bongo flava spreading through out the country, and the rest of the Great Lakes.[9]

Historically ngoma has been primarily 'traditional' as it passed from generation to generation however was prohibited in colonial times for being 'wicked' and 'primitive'.[18] In more recent times, particularly after 1985, this has been changing with ngoma becoming both more modern, and fluid or creative.[17] Whether for societal reasons or new economic realities, ngoma is being taught by elders to youth less and less today. Nevertheless, ngoma is still popular. More often youth are taking what they can learn about various dances from different sources, including varieties of people, tribes, and places, as well as other styles of music such as bongo flava to combine all of these inspirations into new forms of dance.[16] This has been a source of generational resentment between elders and youths, with elders upset at the lack of authenticity of the youths' ngoma, and the youths upset at never being taught authentic ngoma as the elders were.[16] While there has been this loss of traditional nature to ngoma over the past 40 years, it has evolved into its modern genre, often including the use of modern instruments. Many of the traditional instruments of ngoma are no longer possible due to the outlawing of hunting preventing the access to materials necessary for many instruments. As a result, modern instruments such as guitars are used, as well as electronic equipment such as microphones, amplifiers, and keyboards.[16]

One example of the new styles being created is the UMATI troupe from Iringa town. They created their own dance using a combination of dances Lingunjumu and Sindimba from Southern Tanzania, Mdundiko from the coast, and Akasimbo from Kagera while incorporating bongo flava moves.[16] Much in the same way bongo flava is designed to appeal to a broad audience, both genders, for economic and commercial reasons, modern ngoma often does the same. UMATI's dance incorporates dances from a broad geographic range, while also incorporating traditional ngoma inspirations that can appeal to the elders, and bongo flava inspirations that can appeal to the youth.[19]

Following independence in 1961, the TANU government understood the usefulness of kwaya for secular purposes to create a national identity, and promote education and ujamaa.[7] One of the first actions TANU undertook for the new nation was to create schools to educate the population, which at that time had less 5% literacy due to absence of schools. TANU created an education system, building schools in every village and neighborhood, and chose to make kwaya an instrumental aspect of education, as it still is today. This proved hugely successful, with Tanzania enjoying high literacy reaching 80% literacy in 18 years after independence.[4] Alongside the kwaya troupes, TANU created and promoted ngonjera, a form of poetry as a dialog, debate, and praise usually for the TANU party.[22] After 1985 and onto today, kwaya is still widespread, particularly in schools, and church, and as a powerful influence in other forms of music, but the use of both kwaya and ngonjera as a political tool is significantly diminished today, rarely used by CCM. The central role kwaya continues to play in early and religious life has helped make it highly influential music in Tanzania.[7] Most singers learn how to sing in choirs at a young age, and kwaya is frequently featured in other forms of music, especially the very popular modern bongo flava.[21] e24fc04721