Professor Palamagamba Kabudi is no stranger to controversy. It has become his most resilient trademark. But now, he has sparked a controversy that has ignited a public debate about how national decisions are being reached and the participation of the general public in crafting and achieving them. The learned don said there was a national consensus that Singeli music embodied our culture, traditions and values. Do they?
Therefore, Singeli is now our national music, and it will define us worldwide. He claimed that when the world hears it, it will know it is Tanzanian music, but is it? Does Singeli represent us? Many disagree, and this article investigates the two contrarian sides to answer a question: Are we an item with Singeli?
Before we plunge into this debate, let’s first tune ourselves up to what Singeli is. Then, we will be in a position to tackle larger issues frisked out by our learned don. First and foremost, we ought to address the roots of Singeli in order to comprehend larger issues relevant to our values, culture, and traditions.
On the surface, Singeli looks like a Tanzanian brand, but is it? A deeper assessment shows it has enmeshed Taarab and Msondo ngoma beats. Taarab is a colonial legacy, while Msondo can be traced from the cultural heritage of the Wazaramo people in coastal Tanzania, specifically Dar-es-Salaam. Msondo music is often associated with celebrations, rituals, and community gatherings, and it has scintillated a significant role in shaping Tanzania’s musical landscape. Unlike Taarab, which borrowed heavily from Arabic beats, msondo ngoma is bantu perse and is understood and accepted as a national musical asset.
The first reason for not accepting Singeli as a national beat is geographical constraints. It is a coastal and Zanzibar thing that has not developed a national following. Singeli is hamstrung by initiating cultural values that many communities will find reprehensible. Msondo we love is closely associated with traditional rituals, such as “healing ceremonies” and “ancestral worship”. The msondo music is believed to have spiritual significance and is used to invoke blessings or communicate with ancestors. When it was combined with Taarab it symbolised values which are anathema with national values. That is gained by the Taarab component in Singeli!
Singeli emerged in the early 2000s in the working-class neighbourhoods of Dar es Salaam, particularly in areas like Manzese and Tandale. It later parachuted to Zanzibar, where foreign influences were rapidly infused. Since Singeli was a hybrid blend of Msondo ngoma and Taarab, it stretched to adopt the very essence of both sides, with the outcome being bizarre. Singeli imported rhythmic drumming patterns of Msondo ngoma. The drumming is complex and layered, creating a lively and dynamic sound. The music often features “call-and-response singing”, where a lead vocalist (or group) sings a line, and the audience or chorus responds. This creates a participatory and communal atmosphere replete with joyous singing and plenty of leg and butty sexy movements.
Msondo music originates from the Zaramo people, who are indigenous to the coastal areas of Tanzania, particularly around Dar es Salaam. Singeli fails this originality test because of its heavy corruption from Taarab and Western influences. The inflexion of Western influences will be considered much later in this discourse. Taarab is integral to Zaramo cultural identity and is often performed at essential lifetime events. Still, Taarab would not have been infused in our own music without colonialism. Taarab, despite its coastal popularity, isn’t a national musical paragon, so as to fault its fear of national assimilation. Msondo rhythmic pronounced patterns and communal spirit overwhelm the Singeli genre.
Msondo ngoma has also influenced other beats by blending traditional rhythms with contemporary styles in hip-hop, Bongo Flava, and electronic music. Therefore, Msondo Ngoma, if it is standing alone, can be accepted as quintessential Tanzanian music. Msondo ngoma had found general acceptance but Taarab and its offshoot of Singeli had not. Since Singeli is not widely accepted because of the injection of Taarab and lustful Western influences, it cannot be said to be an embodiment of national musical acceptability, for it is not!
Singeli incorporates influences of electronic music (EDM), dance music, hip-hop, and breakbeat, creating a unique fusion of traditional and modern sounds. The use of digital production tools has made it accessible to young producers, contributing to its rapid growth. Singeli gained mainstream attention in Tanzania around the mid-2010s, thanks to artists like “MCZO” and “Dogo Niga”. It has since spread beyond Tanzania, attracting attention across East Africa and even internationally.
Singeli is a relatively new style of music that has gained immense popularity, especially among the youth, for its energetic beats, rapid tempo, and unique cultural roots.
Singeli is known for its incredibly fast beats, often ranging from “200 to 300 BPM (beats per minute)”. This makes it one of the fastest genres of music in the world. The rapid tempo is perfect for dancing and creates an electrifying atmosphere.
Singeli proud itself for minimalist production. Singeli tracks are typically produced using simple, repetitive loops created with digital software or drum machines. The focus is on rhythm and energy rather than complex melodies or instrumentation.
Singeli often features rapid-fire, chant-like vocals delivered in Kiswahili. Singeli lyrics usually reflect everyday life, social issues, and street culture. The vocal style is raw and unfiltered, adding to the genre’s authentic, grassroots feel. Singeli is unapologetically tied to erotic dance and bawdy lyrics. It’s commonly played at street parties, weddings, and community gatherings. The dance style associated with Singeli is fast-paced and improvisational, with dancers often competing to showcase their skills.
Singeli is a testament to the creativity and resilience of urban coastal Tanzanian youth, blending tradition with modernity to create something entirely new and exciting. MCZO is one of the pioneers of Singeli, MCZO is known for his high-energy performances and innovative production. Dogo Niga is prominent Singeli artist who has helped popularize the genre through his music and collaborations. Bamba Pana is a producer and DJ who has brought Singeli to global audiences through his work with the “Nyege Nyege Tapes” label. The Ugandan label “Nyege Nyege Tapes” has played a significant role in introducing Singeli
to international audiences. The label has released compilations and albums featuring Singeli artists, helping the genre gain recognition at global music festivals and events. Since Singeli has been adopted by other countries Tanzania can no longer claim sole ownership.
While Singeli originally was popular and still is with urban coastal areas, reflecting on their struggles, aspirations, and creativity has embraced foreign lurid and risqué influences which have divorced the music from our values. Singeli now epitomises an obsession with sex profligacy, homosexuality and bisexuality. Singeli commercialisation goals appear to pivot towards appeasement of Western sexual aberration values. This is why it is increasingly becoming a national anthem of gender-ideological warfare. From the glorification of anal sex through hardcore sodomy suggestive gyrations coupled with sexually immoral lyrics, Tanzanian cultural values and traditions have been completely rejected in the Singeli modern shows. We are not sexually immoral! We are straight to the core. We cannot accept Singeli to define who we are because we do not espouse the sexual values spielled by Singeli.
Singeli may provide an outlet for self-expression and a sense of community in urban coastal youths but its embrace of sexual immorality in an attempt to widen global appeal has rebelled against everything this nation stands for. Our learned don didn’t consult with many of us, and as a result his reckless fiat is not reflective of our wider national values.
Singeli is anything but Tanzanian these days.
Read more analysis by Rutashubanyuma Nestory
