Taarab melodies defiant of foreign influences

By Emmanuel Mwendwa

Along the East African coastal strip, few musical styles can rival the popularity enjoyed by taarab melodies, a genre believed to date back to late 19th century.

Among the Swahili communities, live performances of taarab continue to be regarded as an essential ingredient for any form of celebrations – especially weddings or cultural events.

But more significantly, the genre has defied the test of time and myriad foreign rhythmic elements and influences – to stamp an indelible mark as a distinctive, East African musical style perhaps only rivaled by benga.

Its enduring appeal and popularity is however, not only restricted to the East African coastal region but also in the Far East, Asia, Europe and the Arab Emirates.

Originally, though, the genre is said to have widely drawn immense rhythmic influences from the Arab world, Middle East, India and as far as Indonesia.

These myriad fusions gradually developed into the modern day taarab blended with classical traditions rooted in rich Swahili poetry, local melodies and rhythmic beats.

According to Ustad Hajjy Mohammed, founder member and leader of Dar es Salaam based East African Melody Band, the genre began to flourish from 20th century.

Ustad Hajjy

Recently however, a quiet revolution is reportedly evolving – ushering in an offshoot, contemporary taarab songs referred to as the rusha roho and mipasho phenomenon. This, in Kiswahili – roughly translates as ‘…something to make your heart fly…’

The lyrics of traditional taarab music would typically be laden with hidden meanings. The lyrical composers would self-consciously and indulgently invoke symbolism in most songs.

"Most composers primary goal was to effectively enlighten, caution, pass on or communicate messages to listeners," says Kelly Askew, a US-based producer of the film Poetry In Motion, which focuses on genre’s growth along East African coastal region.

Genre’s development

However, renewed appeal for contemporary taarab is reportedly on verge of sparking off an aesthetic divide: One ‘camp’ is keen on rooting for traditional style whilst younger composers, assert the music cannot afford to remain static.

"It is no longer easy to wholly uphold the supposed ‘purity’ or subtlety taarab stood for in the past. For the genre to develop further, we have to embrace change in lyrical approach. Any form or genre of progressive music has to be dynamic," argues Askew.

The producer and professor of Anthropology, African and Afro-American Studies at University of Michigan is credited with a book exploring the same subject titled Performing the Nation: Swahili Music and Cultural Politics in Tanzania published in 2002.

Previously, notes Askew, taarab was regarded as a purely cultural piece for entertainment. But times have changed and the genre has blossomed in not only on the East African music market but globally as well.

"A cross section of audiences now want to listen to song lyrics, which address or tackle social issues, while at the same time enlightening the society," she adds.

Afua Suleiman, a long-standing singer and vocalist of East African Melody’s says most of the songs she composes are inspired by her experiences, relations or views regarding everyday life.

She points out that dominant themes in taarab music, whether classical or modern, range from interpersonal relations to politics, religion and lifestyles.

"The lyrics we compose as vocalists are poetic and illustrative of typical daily experiences, hence a musician’s role is to serve as the conscience of society. Songs with positive messages can be used to admonish wrongdoers in an effort to help them change their ways," she says.

Popular songs

Some of the band’s popular songs include Zilipendwa, Utalijua Jiji, Debe Tupu, Zoa Zoa, Wamungu Uwazi, Semeni, Huna Muamana, Paka Mapepe, Mungu Akitaka Kupa, Karibu Habiby, Siadhiriki, Udungu Mchana, Mnaungulika, Nikumbatie, Matondoti and Jitoe Kimansomanso among others.

According to leading vocalist Aisha Osman, contemporary taarab has embraced a new role – the mipasho style, which "…serves as an effective tool to empower women to overcome ignorance. The lyrics and style are bound to keep changing in tandem to dictates of time though they primarily seek to educate and entertain," she observes.

Instrumentation

Another key aspect, reflective of genre’s evolution, is an emerging preference of the new generation bands adopting use of electric instruments, in the process edging out varied acoustic instruments common among older taarab orchestra bands.

These range from electric keyboards, drums and guitars, which have notably replaced ancient instruments such as the cherewa (rattles), mkwasa (sticks) for percussive effects, traditional Ud ‘guitar’ for rhythms, accordion and violin used to provide melodies.

This fast catching on offshoot style, is not only refreshingly relevant but supposedly makes it easy for bands to perform a wide range of repertoire, which fans can dance to with ease.

"The songs are simple, more direct in implication; but this does not in ay way imply we have bypassed traditional unwritten laws of lyrical subtlety – popularised by earlier bands and older groups," says keyboardist Ustad Hajjy.

Stories

"We ensure lyrics tell the story and expound on the moral message being passed on without cutting short cuts. This is the reason why one song lasts up to 10 minutes or more. If we composed shorter songs – the lessons we seek to impart would be half-told," adds Hajjy.