Taarab under scrutiny
Modern Taarab music is being blamed for breeding social discord, embarrassing society through vulgarity, vilification of women and also for abandoning convention of the music that was—till recently—considered a unifying force of the Swahili coast, at the altar of money. OGOVA ONDEGO reports.
It is a lovely evening and armies of music lovers have invaded the concert hall to unwind, shake a leg, gyrate and shed off a few pounds on the dance floor. The almost hypnotic chorus of the live taarab song reaches its climax and the patrons respond in unison with “Hoo utalia mwenzangu, jiji utalijua” to every line by lead singer, Afua Suleiman.
But unknown to these revelers dancing away the evening with abandon is that: every word of the song cuts through the heart of an unnamed ignorant wife whose husband has left her for a sophisticated and caring woman.
Wako nishamchukua kwako harudi tena we mwenzangu
Katamka waziwazi kuwa hakutaki tena we mwenzangu
Bwana kanipa nafasi nimuonyeshe ujuzi we mwenzangu
Nami sifanyi ajizi mpenzi ninamwenzi we mwenzangu
Nampikia maandazi na chai ya tangawizi we mwenzangu
Wali wa nazi kwa ndizi ma vituzi kama kazi we mwenzangu
Kisha ninatoa dozi impayo usingizi we mwenzangu
But as the soloist’s seductive vocals tackle the next three lines:
Mwenzangu huna ujuzi rudi tena kajifunze we mwenzangu
Bibi acha upuuzi kuishi na mume kazi we mwenzangu
Mume ataka malezi siyo mambo ya kihuni we mwenzangu
Pepe na jeuri zako leo zimekuishia we mwenzangu
Taarab: Utalijua jiji Part 1
Taarab: Utalijua jiji Part 2
No comments:
Post a Comment