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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]

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In 1981 musician Remmy Ongala founded a band called Matimila. Each band has a unique mtindo (style/fashion) and Remmy Ongala's band Matimila named their mtindo "Bongo".[8] Remmy Ongala would become the most famous musician ever for Tanzania, reaching global fame working with English singer Peter Gabriel.[9]

Bongo Flava is a large divergent evolution of muziki wa kizazi kipya, meaning "music of the new generations", which originated in the middleclass youth of Kinondoni District of Dar es Salaam between the mid-1980s and 1990s.[10] Taji Liundi, also known as Master T, the original creator and producer of the Dj Show program had already started airing songs by fledgling local artists by late 1994. Radio hosts Mike Muhagama and Taji Liundi led the way in radio support of local artists.[11] Mike Mhagama eventually joined the popular program as an under-study to Taji Liundi and also went on to produce and present the show alone after Taji Liundi left Radio One in 1996.

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]

Despite the popularity of "Bongo Flava" and the large number of well-known artists throughout Tanzania, copying of music is widespread due to the weak enforcement of copyright laws, and most artistes are unable to make a living selling their music. Instead, most rely on income from live performances to support themselves, or income from other business ventures, using their social influence as leverage. However, there are instances of 'success stories', the career of artist Diamond Platnumz, and producer-artist Nahreel are often cited as sources of inspiration for many artists and producers [21][22]

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]

I hope this makes sense lol, I dont play the drum myself but I'm gonna play this song for music class. My friend is gonna drum though and she asked if I had sheet music for it. I cant really find anything online so I was hoping someone here has something :)

This part is not intended for Sterling by Music Man instruments. If you need a replacement part for a Sterling by Music Man instrument, visit their parts website: sterlingbymusicman.com/collections/parts

Soldiers overthrew President Ali Bongo a few days ago after he was declared winner of a third term in its Aug. 25 election. The military claimed the election, which had no international observers, had been flawed. It ended nearly 56 years of rule by the Bongo family during which a love and spending on music stars was a consistent theme with little regard for the conditions in which ordinary citizens live.

Ali seemed to have got his musical ambitions from his mother. In the late eighties, Josephine Bongo divorced President Omar and reinvented herself as Patience Dabany, a singer/songwriter and released several albums.

There's a music show going on today, but one of the instruments, a little bongo drum named Baby Bongo, falls out of the show truck. So Dora and Boots must get Baby Bongo back to the show so that he can perform for the very first time.

Firstly welcome to the forum! Personally I love musicman basses, so you can't really go wrong with either. I have an SR4HH and an SR4H, though I used to own a Sterling (still my avatar) and have played a Bongo. The only reason I sold the Sterling was because I preferred the wider Stingray neck so swapped it for another Ray.

I've also played a Bongo at the music store, and yeah, you can spend all day trying to figure out how to dial in a tone with all the pickups and knobs and stuff. If you ignore the Bongo's piezo, dialing in a double humbucker is going to be the same exercise whether you're holding a Bongo or StingRay (or whatever else).

Bongo Boy Music School is a private music school located in the Castleton area of Indianapolis started in 2003. Our goal is to provide the best music instruction in the city of Indianapolis and surrounding areas. Here you will find a safe, professional and creative atmosphere to enhance your musical abilities and establish a solid musical foundation.

The Rainforest Rhythm Kingdom Program is an early childhood rhythm, movement and music program tailored for pre-k to early elementary students. Whether you have questions, need answers, or just want to help others, the community forums is the place for you.

Few people understand the language of love better than bongo flava artists. Their grasp of vernacular places them on a different level compared to other artists singing in Swahili. Perhaps this explains the popularity of this Tanzanian genre, whose standard-bearers include Diamond Platnumz, Zuchu, Harmonize, Rayvanny and Nandy, among many others.

Their risqu lyrics, delivered with unstinting imagery, are the reason these hits have become love anthems for a generation. And with the artists churning out song after song, bongo flava will no doubt continue to be the staple of East African radio in 2023.

Music In Africa has made a selection of bongo flava songs that are ruling the airwaves and blowing up the streams this year. Be sure to bookmark this playlist as we update it with more music throughout 2023.

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

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. ff782bc1db