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]
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.
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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]
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.
Despite the rapid growth of hip-hop music during the late 1980s, it was not until the early 1990s that the first album was produced. Saleh J released the first Tanzanian album Swahili Rap. Saleh J combined American rap songs and his own ideas and topics concerning the daily life of young people in Tanzania, communicating directly with his listeners by singing in Swahili. He talked about the 'real' situation ('Hali Halisi'), addressing directly the social, political and cultural issues of youth. More than ten years later, the hip-hop scene has developed its own unique style and language. Hip-hop artists freely mix different music styles, contemporary and traditional, and write intelligent lyrics, poetry, imaginative tales, and create street slanguistics. Many of them are aiming at educating their audiences, often referred to as 'edutainment', and talk about AIDS, poverty, social behaviour and communal life but also about their personal experiences. For example, Jay Moe's first album Ndio Mama is an homage to his mother who died young. Solo Thang's recent songs are about love and his life as a musician. Different from the American hip-hop, these artists' lyrical content is less destructive, racist, and misogynistic, and less interested in parties and sex; it has a stronger social attitude and spiritual aspect, all influenced by the political and social realities of Tanzania.
Back in the taxi, we finally reached Steers, a trendy spot for young people to hang out. Mwanafalsafa was sitting in his car listening to music, waiting for us to arrive. Mwanafalsafa, the 'Son of the Philosopher,' has so far released two albums. His latest one Toleo Lijalo was very successful and has so far sold more than 60,000 copies. In 2003, he was voted best hip-hop artist for his track "Alikufa Kwa Ngoma," an anti-AIDS song, at the Kili Music Awards, in Dar es Salaam. He is known for his intelligent and allusive lyrics. "I have this lyrics archive where I collect words, images, lines I pick up or read, and my friends help me to find interesting topics." He prefers to compose and write in English but as he is rapping mainly for a Tanzanian audience, he translates all his songs. "It's easier for me to write my lyrics in English, but I can't compete with foreign stars like Eminem, so I sing in Swahili." Like the other artists, Mwana gets his inspiration from TV, movies, music videos, the Internet and magazines which influence his style, clothes and attitude.
"We are not using our own sounds as much as we should; we sample those produced by other music genres. Imagine that out of the top 20 Bongo Flava songs on different charts, more than three quarters are Amapiano and the rest are Nigerian sounds," he explains.
While there is a disagreement of when bongo flava started, it started to rise in popularity in the 1990s under Master T, a prominent media mogul in Tanzania. He started playing the music across his many media outlets and within a decade, the genre became mainstream within Tanzania.
However, the popularity of Bongo Flava is not limited to only Tanzania, as neighboring countries Kenya and Uganda play the music, as well. In the United States, there are several radio stations dedicated to streaming only bongo flava, including the Chicago-based station Bongo Radio.
Musician Crazy GK (Gwamaka Mujuni Kaihula) says the popularity of Bongo Flava lies in artists who are focused on writing and performing songs society can relate to: politics, identity, HIV/AIDS, and poverty. It is seen as the most effective way of expressing these feelings and realities.
Juma Nature (Juma Kassim Ally), who has collaborated with artists from Kenya and Uganda in about 20 songs, says he is exploring ways of collaborating with Kenyan urbanative performers CMB Prezzo, Necessary Noize, and Redsan as with Ugandan raga star Jose Chameleon (Joseph Mayanja).
Bongo Flava transports the ideas of this generation and reflects their attitude towards their creativity and lives as well as their identity. The songs are often original and full of humour, tackling daily life issues, talking about personal experiences, and always with a message. Clouds FM, launched in 1999 as the fourth station in Tanzania, played a role in this.
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.
The titans of Bongo Flava, comprising renowned figures such as Diamond Platnumz, Harmonize, Marioo, Rayvanny, Nandy, Ali Kiba, and Zuchu, have enthusiastically embraced the colossal Amapiano sound by creating their own Amapiano-infused songs.
Mbosso's Sitaki and Haitham Kim's Dubai stand as prime illustrations of the distinctiveness of Tanzanian Amapiano. Both songs feature an Amapiano beat, complemented by an infusion of coastal bass and sounds.
To increase reliability and objectivity, triangulation was used when analyzing the interviews, video and audio recordings, and observations so that the resulting themes would characterize the lived experience of music performance and healing for the study participants. The information conveyed by participants during the separate interviews was compared for similarities and differences. Those themes were then compared with the themes from the text of songs obtained from studio recordings and live community performances. Essential overall themes were obtained through this process. e24fc04721
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