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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]

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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]

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.

In this dissertation, I situate the term \u201Cbongo flava\u201D as way to understand the various intersections of popular music and politics in Tanzania. I discuss two distinct yet related genres of popular music in this regard \u2013 Tanzanian hip hop and pop music, known today as bongo flava. When the term bongo flava was coined in the 1990s, it was originally a form of hip hop, sonically and extra-sonically. More specifically, bongo flava was a way for citizens to provide a critique of the state, and an expos\uFFFD of the problems that said citizens face. However, the paths of hip hop and pop music in Tanzania, once intertwined eachother, have now become separate in today\u2019s muscial landscape. Both Tanzanian hip hop and bongo flava today have an interest in politics; politics, or siasa in Swahili, is a loaded term, whose definition changes based on who is speaking about it. For many rappers in the Tanzanian hip hop underground, politics is disconnected from the lives of regular citizens, and so these rappers understand themselves as representing the \u201Ctrue\u201D lives of Tanzanians. This can be understood as a continuation of the original social critique that was present in bongo flava in the 1990s. Bongo flava, as pop music today, is a genre deeply intertwined with the politicking of the ruling political party in Tanzania, provides a different and competing version of reality that directly colludes with the government. For both muscial worlds, social media is a place to promote one\u2019s culture, whether that be through directly selling underground rap tapes to fans via Instagram, or advertising a sold out stadium show as a bongo flava pop star. Additionally, in both of these worlds, there is a representation of ideal masculinity by artists in these spaces. It is through proper masculinity performances that these artists can earn political legitimacy, broadly defined. Bongo flava has been previously understood to represent Tanzanian hip hop only. However, this dissertation seeks to expand the definition of bongo flava to mean a political ethos of survival, a representation of Tanzania on the international scale, a popular music aesthetic, and a way to critique the Tanzanian government. Ultimately, this dissertation argues for the term bongo flava to represent the way popular music as a whole interacts with Tanzanian political life.

The Tanzanian bongo flava genre of music has become increasingly popular over the last decade. This unique style of music is a fusion of various musical elements, such as hip-hop, dancehall, Afrobeats, and traditional Tanzanian music. As of today, bongo flava music has gained popularity not only in Tanzania and East Africa, but its has become a cultural phenomenon, enjoyed by millions of listeners worldwide. e24fc04721