Retracing the rise and rise of Kikuyu popular music

By GEORGE ORIDO

Religion and politics have defined Kikuyu pop music over the last century, adding its richness with flavours from different cultures in Kenya, such as Luo and Luhya, and beyond the seas, from America to Scotland.

These are some of the gems of information rolling hot off the press by way of a glossy hard back, CD and DVD documentary, Retracing Kikuyu Popular Music, which was launched at the weekend at the French Cultural and Co-operation Centre.

A collaborative venture between Ketebul Music and the Ford Foundation, the documentary chronicles the Kikuyu pop scene through the rough and tumble of colonialism, Christianity incursions and the impetus provided by soldiers returning from the World War I and II.

The documentary identifies Jane Nyambura a.k.a Queen Jane, as one of the most successful female Kikuyu musicians until her death early this year. [PHOTOS: FILE/STANDARD]

One of the ironies, the documentary records, is that while the traditional Kikuyu repertoire suffered a total ban at the height of colonial repression, the music anchored itself on the British instrument, the accordion.

The documentary is the second in Ketebul series, having released Retracing the Benga Rhythm documentary last year.

Protracted Encounters

"From the 1890s, the oral traditions of the Kikuyu were greatly disrupted and eroded by their protracted encounters with British colonialism," Tabu Osusa, the Ketebul executive producer says of the documentary, adding that in the traditional Kikuyu society, musical forms were structured according to gender and age.

Important rituals inspired different kinds of songs, such as circumcision, where heroic and praise songs were common.

During marriage festivities, the age-mates marked a bride’s departure with Kiriro, which meant tears over her departure.

The political developments that would render many Kikuyu landless, as well as the penetration of Christianity, had the twin consequence of social displacement and religious dismemberment.

The outlawing of Kikuyu songs as evil and the propagation of Christianity as the alternative religion quickly replaced traditional African worship.

Flavour and Texture

The only space available for introduction of Kikuyu nationalism was through gospel tunes, which explains the eminent position that gospel music has held in Kikuyu music scene.

According to Sammy Nene, a gospel musician and producer, the first set of Kikuyu published hymns was Nyimbo cia Roho Mutheru, (Holy Spirit Songs), was composed by the Akorino, through the work of Daudi Ikiigu Nderi in the late 1930s.

Servicemen returning from the World War I and II brought back their experiences and equipment, including the accordion, adding the flavour and texture of Kikuyu music.

It is the war veterans who came up with Mwomboko wa 20 (Dance of the 20s) using the accordion with a hybrid step-and-dance.

The guitar sounds brought the Scottish steps known as Erithi. Gacungi wa Kamau and John Arthur from Fort Hall (now Murang’a County) were pioneers in this experimentation.

Many other artistes followed in their footsteps, shaping the modern Kikuyu pop music. They include Sammy Ngaku, Cyrus Muiruri a.k.a Kirwiko, Wanganangu, Shinda Gikombe, H.M. Kariuki and Roman Warigi.

Others were Joseph Kamaru, Njoroge Ngari a.k.a Ngemi cia Gatanga, Wilson Kuria Kamau, Simon Kihara a.k.a Musaimo and C.D.M. Kiratu.

Recording Opportunities

Musicians from Gatanga, Murang’a have left an indelible mark on the Kikuyu music scene. In the documentary, they are referred to as the Cowboys of Gatanga as their dress codes echoed key characteristics of American county musicians, complete with Stetson hats, cowboy boots and denin suits.

Johnny Walker, the evergreen dance wizard typifies this American country adaptation.

The Wild Wild West of Gatanga has produced many greats such as Daniel Kamau "DK" Mwai, John Ndichu, John Ndemethiu a.k.a De Mathew, and Peter Kigia.

Others are Joseph Wamumbe, Timona Mburu, Joseph Kariuki, Karanja David, Kimani Thomas, Waithaka Mboce and Ngone Mkulima.

It is this group of musicians that in the 1970s did collaborations with musicians from outside the Kikuyu community, especially Luo instrumentalists.

Whilst looking for recording opportunities in Nairobi’s River Road, they bumped into skilful Luo guitarists whose Benga beat had fast become a national mainstay.

But the acclaimed King of Kikuyu music of all time remains the prolific singer-composer Joseph Kamaru. Born in 1938 in Gatuki-ini village, Kiharu Division Murang’a, he bought his first guitar in 1964.

One evening he heard Mwangi wa Gacheru’s song on radio Mbeca Ithiragira Urakua (Money Runs Out Only To the Dying), and made a decision to record music.

He endured frustrations as his songs failed to meet the required recording standards, and was initially rejected by producers. He finally made it with Uthoni wa Mbathi-ini (Seduction on Bus) and Tiga Kuhenia Igoti (Don’t Deceive the Court).

Kamaru recorded with Luo and Luhya guitarists including Odhiambo Osumba Rateng,’ Ondiek Nzoi, John Barry and Reddman.