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According to local legend, taarab was popularized by Sultan Seyyid Barghash bin Said (1870-1888).[5] He enjoyed luxury and the pleasures of life. It was this ruler who initiated taarab in Zanzibar and later it spread all over the African Great Lakes region. The sultan imported a taarab ensemble from Egypt to play in his Beit el-Ajab palace. He subsequently decided to send Mohamed Ibrahim from Zanzibar to Egypt to learn music and to play the Kanun. Upon his return, he formed the Zanzibar Taarab Orchestra. In 1905, Zanzibar's second music society, Ikwhani Safaa Musical Club, was established, and it continues to thrive today.[6] Ikwhani Safaa and Culture Musical Club (founded in 1958) remain the leading Zanzibar taarab orchestras.[6]

In 1928, she and her band became the first from the region to make commercial recordings and was the first East African to be recorded in the Bombay HMV studios. She would go on to become one of the most famous taarab musicians of all time.[7]

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Over the next several decades, bands and musicians like Bi Kidude, Mzee Yusuph, Culture Musical Club and Al-Watan Musical Club kept taarab at the forefront of the Tanzanian scene, and made inroads across the world. Playing in a similar style, Kidumbak ensembles grew popular, at least among the poor of Zanzibar, featuring two small drums, bass, violins and dancers using claves and maracas. The 1960s saw a group called the Black Star Musical Club from Tanga modernize the genre, and brought it to audiences far afield, especially Burundi and Kenya. More recently, modern taarab bands like East African Melody have emerged, as have related backbiting songs for women, called mipasho.[9]

Taarab music[10] is a fusion of pre-Islamic Swahili tunes sung in rhythmic poetic style, spiced with Arab-style melodies. It is an extremely lively art form, and immensely popular especially 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 in Zanzibar, Tanga and even further in Mombasa and Malindi along the Kenya coast.[4] Wherever the Swahili speaking people travelled, Taraab culture moved with them. It has penetrated as far inland as Uganda, Rwanda and Burundi in East Africa, where taarab groups compete in popularity with western-music inspired groups.[2]

He's part of a revival of taarab, a traditional form of music that dates to the 1880s. At the time, the island was governed by the sultan of Oman, who brought a taarab ensemble from the Middle East to play in his palace in Zanzibar. Eventually, the music took on African and Indian influences as well, reflecting the island's history as a crossroads of trade. The different musical sounds came in on the dhows, traditional wooden boats, that carried ivory, spices and slaves across the Indian Ocean.

The music took on a Zanzibari flavor when lyrics from Swahili poetry were eventually added. In the 1930s, Siti binti Saad, a renowned Zanzibari taarab singer and daughter of slaves, became the first East African woman to record the music when she sang taarab songs for Columbia Records in Mumbai, India.

"There were only a couple of traditional taarab groups, and very few young people willing to keep the heritage. Taarab was music for 'old people,'" says Adrian Podgrny, managing director of the academy, which uses the acronym DCMA. It was founded in 2002 to revive, preserve and teach taarab.

More than 1,600 students have studied at the academy, with nearly 70 percent of them focusing on taarab. The school has revived the art in Zanzibar. In addition to weekly concerts at the academy, students and graduates (along with teachers and old-timers) play the music at hotels, restaurants and cultural festivals on the island and beyond. DCMA's taarab musicians have performed overseas in France, Japan, Kenya, Norway, Switzerland, the United Arab Emirates, the U.S. and elsewhere.

He was afraid to enter the stately music academy in Stone Town, the historic part of Zanzibar city, because he spent most of his time "in the bush" tending livestock. Today John performs in a taarab ensemble. A singer warbles Swahili lyrics.

For his taarab concert this spring, John swapped his jeans and Mr. Pibb T-shirt for a traditional tunic. He swayed as he effortlessly played the flute, which he started studying in 2014 after several years learning guitar at DCMA.

Although he was born in Zanzibar, John didn't know much about taarab music before DCMA. "Now I know," he says. He earns money from his concerts at DCMA and also performs in hotels and restaurants. His parents are impressed, says John, though he notes regretfully that more of the family's livestock get lost since he no longer tends to them full-time.

Previously, taarab was played mostly by elders who were literally dying off, he explains. "The music tradition was disappearing." Now Zanzibar's taarab is "well-known in the world, in Norway, Amsterdam, New York," he says.

I was recently in Zanzibar to attend the landmark Sauti za Busara Festival and was curious to explore the story of taarab, the distinctly coastal music that has entertained the residents of the East African coast for over a century, and whose influence has grown further inland as far as Rwanda and crossed the Indian Ocean to the Arabian peninsula.

While it was evident that some groups were committed to retaining the music in its traditional form, it was also apparent that there is a crop of younger musicians who have chosen to experiment and chart new courses for taarab. One of them is the Bongo Flava sensation Ali Kiba, who incorporates elements of the music style in some of his latest compositions like Mwana, and who also performed at the festival. Here in Kenya we have Nyota Ndogo, Jua Kali and Prince Adio as some of the pop artistes who have sampled taarab in their music.

Said is a carpenter and musician specializing in making the quanun, a taarab instrument that is native to Turkey and Egypt, and which is slowly making headway in taarab music on the island. He is the only maker of that instrument in Tanzania.

ACTY: 09_Boni_bongo.wav: Bongo is brain. You know, the difficulty of life, the challenges of life. People used to say that this is bongo. For instance, you're working for John Kitime, and you're getting paid 1000 a month, but your daily expenditure is more than 5000 and you manage. So they say that you're using bongo, your brain.

ACTY: 20_Fereshi_tradition.wav: There is traditional taarab and modern taarab. Taarab started in Tanzania in 1889 during the period of the Sultan in Zanzibar. But it picked up in 1928 with the first renowned singer in Zanzibar called Siti Bint Saad. This is the first first person who dramatized Arab and it came very much known.

ACTY: 21_Fereshi_EAMelody.wav: In 1994, there was one group called the East African Melody, modern taarab. In 1995, early 95, I promoted this group. I was the first person who sent them in the hinterland and it became very famous, this group. It is them who really made this modern taarab flourish.

ACTY: 23_Fereshi_motives.wav: There are two motives for starting this band. First of all, it's a passion. I love Taarab music, I enjoy enjoying composing songs. And the second is to promote or to enhance culture, especially the coastal culture. In Tanzania, there are many Taarab musical groups, but our group would like to maintain the link between our modern and the traditional taarab. If you hear Taarab music other groups, you'll find it's very, very different from ours, because we do not completely run away from the traditional.

This group performed very well together. Rajab Suleiman played the Qanun to a very high level and Fum Faki got an amazing amount of different sounds out of the bongos and tabla. The singer sang in a lovely melodic, haunting way. ff782bc1db