Reggae and hip hop music of Tanzania

After the gain of Tanzania independence, the leaders of the country failed in their mission to produce a popular economy. Structural Adjustment Programs were put as measures, which imitated the same colonial practice that the country was trying to free itself from. The youth of the Tanzania turned into crime in order to live. This is not surprising that many of the Tanzania seen these situations, particularly the rise in crime, and the almost immediate emerge or rap music, as a single occurrence. The political creation and older generation did not adapt rap music or uhuni music, since it became identical with disruption and anti-social behavior.

source of picture: www.babkubwa.com

Yet for the younger generation, folk Swahili music did not address inconsistencies of the free up Tanzania economy.

In the year 1991, Tanzania organized a hip hop contest known as Yo Rap Bonanza. While most rappers were performing American chants lyric for lyric; Saleh Ajabry, a Tanzanian, wrote his own Swahili words to a chant based on Vanilla Ice’s Ice Bay, and won the contest.

Dar es Salaam’s Kwanza Unit was the initial Tanzania hip hop team, but, technical restrictions banned commercial achievement. Mr. II and Juma nature were the most popular Tanzanian rappers; Mr. II’s (who was previously known as 2 Proud) Ni Mimi in the year 1995 was the first main hit for the filed. Orchestras like X Plastaz have changed from American-pattern hip hop and joined Maasai choral patterns and other Tanzanian music’s. Tanzanian hip hop is frequently known as Bongo Flava.

Global famous culture, especially the United States hip hop, has played a main role in influencing the Tanzanian culture since its independence. This is most proving among Tanzanian urban youth, who have engrossed global hip hop music and produced their own types. With the grown the Tanzanian in the 90s, Tanzanian urban youth have had more links to the hip hop music, and the combination of global culture has become more predominant and visible in urban Tanzania, not only in the music, but also in fabric, dance, food and also sports. Hip hop has basically gave Tanzanian urban youth and young adults with a way of expressing themselves and creating an identity, such as the metal identity of msafiri (the traveler), a classic subject originated from Swahili lore, and a recurrent theme in Dar hip hop. While the Tanzania hip hop was affected by American hip hop and it was also differently localized. Whereas the American hip hop is the product of the black urban youth and it is hugely influenced by race. Tanzanian bongo flava took origin from the slightly better off section of the city with those that have more access to the western world. Furthermore, Tanzania hip hop musician saw themselves as unique from American musicians in that they concentrate more on economic issues and less on violence. Rapper Sam Stigilydaa put it emotionally when he said, American rappers talk about crazy things such as drugs, drinking, violence against women, American blacks killing blacks.