The rise & rise of taarab music

story & pictures: By Emmanuel Mwendwa

For a long time, traditional taarab music was laden with lyrics which had double meanings. Hence most songs would be composed purely for purpose of what one could allude to as ‘info-tainment’. The lyricists could self-consciously or indulgently afford to use symbolism in lyrical compositions, either to communicate, enlighten, even caution or pass on messages to listeners.

But in the recent past, an emergent appeal for the so-called contemporary or modern taarab – has sparked off intermittent debate.

One side of the divide upholds traditional roots of taarab. On the camp of the ‘new’ generation composers assert that the genre like other any element of culture, remains dynamic.

“We cannot wholly uphold the supposed ‘purity’ or ‘subtlety’ taarab stood for in the past. This is a subject, which can be debated for years to come yet we still retain the best of both traditional and contemporary taarab music”, says Ustad Hajjy band leader of Tanzania-based East African Melody band “Modern pop taarab”, he predicts, “will flourish and possibly grow to the level of being Tanzania ’s flagship, national music. And unlike the increasingly popular, hip-hop driven bongo flava – so much foreign in style, taarab is indigenous. It has been passed on from generations past, it is our own”.

Hajjy adds: “.. taarab continues to flourish since initial decades of the 20th century. It has grown – defiant of foreign rhythms, to stamp its indelible mark as a distinctly East African musical style perhaps only rivaled by benga. Originally, though, the genre immensely drew rhythmic influences from the Arab world, Middle East , India and Indonesia ”. These myriad fusions gradually evolved into t aarab blended with classical traditions of Swahili poetry, local melodies, beats and rhythms. In recent years however, a quiet revolution has been taking place – ushering in the offshoot often referred to as ‘rusha roho’ and ‘mipasho’ phenomenon – which roughly translates from Swahili as ‘..something to make your heart fly…’ Its proponents contend the development is “a shot in the arm” for the existing traditional taarab.

“Most significantly, the offshoot style has made it easy for us to include in our repertoire t aarab songs fans can dance to with ease. The lyrics are simple, perhaps more direct in implication; but this does not suggest we have bypassed traditional unwritten laws of lyrical subtlety – popularized by earlier bands and older groups”, observes Hajjy. The ‘change in tide’ has led to modern bands adopting use of contemporary instruments; replacing varied acoustic instruments common among older taarab orchestra bands. Afua Suleiman, one of East African Melody’s long-standing singers, adds her voice to the debate.

“In the past taarab was purely a cultural piece for entertainment. Times have now changed and the genre has blossomed in the music market. Our audiences want to listen to songs, which address or tackle social issues, while at the same time enlightening (mipasho) the society,” she says. “In the past taarab was purely a cultural piece for entertainment. Times have now changed and the genre has blossomed in the music market. Our audiences want to listen to songs, which address or tackle social issues, while at the same time enlightening (mipasho) the society,” she says.

As a vocalist, she is also expected to compose lyrics, “inspired or guided by my experiences as a woman, relations with other people and views regarding everyday life. A musician’s role is like that of an artist – serving as the conscience of society. Songs can be used to guide even wrongdoers and help them change their ways with positive messages”. According to Hajjy, themes that are dominant in taarab music, whether classical or modern, range from interpersonal relations to politics, religion and lifestyles. “The lyrics we compose as a band are poetic and illustrative of typical daily experience affecting communities – irrespective of class, age or status in life”, he says.

The band’s songs normally range from 15 to 20 minutes per track. “We ensure lyrics tell the story and expound on its moral without cutting short cuts. If we composed shorter songs – the lessons we seek to impart would be half-told”, notes Hajjy. But concerns have been raised with regard to controversial modern taarab songs, which critics insist, supposedly belittle, insult or even demean women — who do not care for children and their husbands, if they do not know how to prepare meals, may be arrogant, selfish or those snatched from other men. Afua is quick to point out that the allegations are biased. “If I sing and tell women that they need to learn how to dress properly, to cook, take good care of their children and support their husband – is this not enlightening and educating women?”, she poses. In her view, society revolves around women and if they are not aware of their roles, then what kind of families and societies shall we have?” she wonders aloud, as her colleagues nod in agreement.

Vocalist Aisha Osman, is more elaborate: “Contemporary taarab has embraced a new role – the ‘rusha roho’ and ‘mipasho’ style serves as an effective tool to empower women to overcome ignorance. The lyrical style will continue to change – as time dictates whilst also being a tool to educate and entertain”.

emmanuel@showbizeastafrica.com