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Sauti Za Busara
The wonderful annual music festival in Zanzibar has
gone from strength to strength. Jeremy Llewellyn-Jones
returned there this year with notebook and camera.
A
s dawn breaks over the Indian the oud, mesmerised the crowd and she
Ocean and Tanzania, I think of charmed us all further by singing in
my parents coming to Zanzibar Swahili. I’d never seen her perform before
in 1949 for their honeymoon – and it was very special.
cattle truck to the coast of Tan-
Mohamed Ilyas and his band are
ganyika, then dhow to the main port of
amongst the most respected of Zanzibar’s
Zanzibar. Real adventurers.
taarab musicians and he was there to
A bit different as I jet in, escaping
launch his new album. Propping a shop-
freezing London to come back to what
ping bag against the mic stand, he sang
feels like my spiritual home. Despite many
with his rich, mellow voice, crooning like
trips to the exotic spice island, this is my
an East African Nat King Cole. As I lis-
first time at the Sauti Za Busara, or Sounds
tened, I noticed a bundle of rich blue
Of Wisdom festival, now in its sixth year.
material being carried backstage and gen-
Three days on the coast to recharge tly placed in a chair. Cheers from the
batteries – mine and the camera’s – and it’s crowd told me who it was – Bi Kidude,
off to Stone Town, where the festival kicks now in her mid 90s. After a cigarette and
off in the sweltering late afternoon with a a few handshakes, she was led gently to
lively parade through the streets. The stage the stage, shuffled up to the mic and
is set in an Arab fort, one of the oldest stood motionless for an age with the band
buildings in Stone Town built by Omani playing calmly behind her. Without warn-
Arabs in the late 17th century. It’s a relaxed
ing her voice boomed out, shattering the
backdrop for four days of Swahili music.
tropical night, bringing the crowd to their
Entry before sunset is free so local families
feet with sheer delight and respect. Bi
and children pack the front waiting to see
Kidude, the original Spice Girl.
their local heroes. Festival Director Yusuf
Another highlight for me was Sansa
Mahmoud tries to showcase the wealth and
Troupe from Uganda, a group of young
variety of East African music but this year
Ugandans of school age, many of them vic-
he beefed up his line-up with musicians
tims of war and AIDS. They’d travelled for
from across the African continent – Nawal
Bi Kidude
three days and two nights to get to Zanz-
from Comoros, Oudaden from Morocco,
and Natacha Atlas amongst others.
ibar and when it came to their performance
we were all blown away. Their act was a
Prowling at the front to take photos I
morality tale, a lesson in family values given
was able to get up close and personal. Vet-
to us in English by a narrator, all based
Mohamed Ilyas
eran Tanzanians Msondo Ngoma Band
around traditional Ugandan dances. It was
played their muziki wa dansi, classic East
a high-energy set culminating in their sig-
African rumba that’s impossible to stand
nature pot dance. Led by Betty Akida, the
still to. Around since the ‘60s, they played
dancers built towers of pots on their heads
like it was their last gig – the rhythm sec-
whilst shimmying and gliding across the
tion kept up a frenetic groove, the dancers
stage to a traditional Ugandan beat. Their
were athletic but best of all was trumpeter
smiles and joy at performing to an ecstatic
Mario. He loved the attention of the cam-
crowd was a privilege to witness. I tried
era and quite unexpectedly ripped off his
talking to them afterwards and they were
shirt and gyrated his ample frame across
the stage to cheers and loud applause.
speechless with happiness. Quite humbling.
Culture Musical Club, perhaps Zanz-
The organisers from Busara Promo-
ibar’s best-known taarab group and
tions are quite open about running their
adored by locals, performed two distinct
festival on a shoestring – getting sponsor-
halves to their set. Their gentle orchestral
ship is a constant battle. The PA and light-
taarab had lulled the crowd into a relaxed
ing are basic, the facilities backstage rudi-
mood when they changed instruments
mentary and at one point there was a
and outfits and launched into the raunchy
power cut for half an hour. None of this
dance music that is kidumbak. Using moni-
mattered because there’s a magic here
tor speakers as props, two curvaceous
that’s hard to pin down. The sheer joy and
women bumped and ground their way
excitement on the faces of the performers
into something of a frenzy, taking us all
was infectious and I couldn’t help but grin.
with them. A group of Japanese tourists at
It made it hard to take photographs. I keep
the front couldn’t get enough and were
thinking it’s because I speak the language
whooping and cheering every hip thrust.
and feel at home there that I enjoyed it so
Nawal from Comoros treated us to
much, but a few months on, I realise it’s
three appearances, accompanied by her
because it really is the friendly festival.
percussionist and upright bass player. The
Go, be prepared for the heat, please
sound she squeezed out of the gambusi, a
be kind to Zanzibar and enjoy.
Comoran banjo-like instrument related to
www.busaramusic.org F
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