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]

Ngoma (Bantu, meaning dance, drum and event)[4][5] is a traditional dance music that has been the most widespread music in Tanzania.[6][7] Dansi is urban jazz or band music.[6][8] Taarab is sung Kiswahili poetry accompanied by a band, typically string, in which audience is often, but not always, encouraged to dance and clap.[6] Kwaya is choir music originally limited to church during colonization, but now an secular part of education, social, and political events.

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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 throughout the country, and the rest of the Great Lakes.[9]

Ngoma (Bantu, meaning dance, drum, and celebration)[4][5] is an East and Southern African style of music, dance, and instruments, however in Tanzania, and other Swahili areas, also refers to events such as celebrations, rituals, or significant event in life such as giving birth or the passing of a loved one.[16][17] The traditional forms of ngoma dancing prominently feature movements of the hips. It also features a large variety of instruments used, but most notable is the use of drums, specifically those that take the name from the style, ngoma drums.[4] In some other cases, there may only be singing and dancing with no instruments used, such as the Maasai dances of Ambrokoi or the Wangoni dance of Ligihu. These are usually dances of jumping and stomping, providing the rhythms, and lots of singing.[6]

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]

Taarab is a music genre popular in Tanzania and Kenya. It is stage-performed music that consists of sung Kiswahili poetry, usually about love,[4] accompanied by a band typically heavy on string instruments. Today the audience participates in dancing, cheering or clapping, occasionally singing, and rewarding the performers when appropriate.[6] taarab music first arose on Zanzibar island around 1830s as a Swahili music with some influence by the musical traditions of the Mainland Great Lakes, North Africa (especially Egyptian instruments), the Arabia, and the Indian subcontinent.[20] Taarab spread to the mainland and neighboring countries in the 1920s and rose to prominence in 1928 with the advent of the genre's first star, Siti binti Saad.[6][20] Prior to the rise of muziki wa dansi (jazz), taarab was usually listed to by a sitting and attentive audience. Following the World Wars, and even more so after independence, the audience participates by dancing, clapping, and singing. Lyrically, leading into and during the independence movements of the 1950s, taarab began to address politics.[7]

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]

Dansi is a form of jazz or band music played for a dancing audience. With the great influence of Belgian Congo, and following the return of soldiers such as the King's African Rifles, new musical ideas of styles, marches, and instruments grew in popularity.[10] With these new ideas dancing clubs started opening and becoming greatly popular in cities such as Dar es Salaam, Tanga, Ujiji, Morogoro, Tabora and many others.[8] Following independence, the single-party government of TANU (later CCM) placed music as a central aspect of Tanzanian nationalistic identity, as laid out by President Nyerere.[4][23] Mwalimu Nyerere spoke of focusing on African traditions rather than western traditions, and contrasted ngoma against muziki wa dansi, in his inauguration speech in on 1962.[24]

In practice, however, both artist, the public, and his TANU government embraced, used, combined, and created from both traditional dance and modern jazz to establish and promote nationalism and Ujamaa (African Socialism) for the new nation. While there are always differences from tribe to tribe, to club to club, the nature of dance music in Tanzania is rarely limited and usually inspired by a large variety of sources.[1] An example of this is the most famous Tanzania musician, Remmy Ongala when he would perform in Masai dress.[23]

The first popular music craze in Tanzania was in the early 1930s when Cuban Rumba was widespread. Young Tanzanians organized themselves into dance clubs and bands, like the Dar es Salaam Jazz Band, which was founded in 1932. Local bands at the time used brass and percussion instruments, later adding strings. Bands like Morogoro Jazz and Tabora Jazz were formed (despite the name, these bands did not play American style jazz). Competitions were commonplace, a legacy of native ngoma societies and colonial beni brass bands.

Tanzania was influenced heavily after the 1960s by the influence of African and Latin music. Tanzanian soldiers brought back with them the music of these cultures, as well as Cuban and European music when returning from World War II. These musical influences fused and brought together the Tanzanian people. Eventually, the country and its people created their own style of music. This style, called "Swahili Jazz" is a mix of beats and styles of Cuban, European, Latin, and African music. Swahili jazz gave Tanzania a sense of independence and togetherness as a country. 152ee80cbc

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