Category: General

Elemotho: Namibia’s rising star

Namibian artist Elemotho G.R Mosimane is the first musician from his home country to win the 2012 RFI-France 24 Discoveries Awards, among a list of more than 500 African, Indian and Pacific artists.

As part of the singer and songwriter’s prize, he received a promotional tour around Africa to 25 countries  and an exclusive concert in Paris. Later this year he’ll be touring India, Malaysia and Nepal in a bid to raise his music profile.

The artist, who grew up in the Kalahari, plays acoustic guitar and blends the sounds and rhythms of his home country with folk influences. He sings in his mother tongue Setswana, English and other Namibian languages.

Elemotho (Pic supplied)
Elemotho (Pic supplied)

The RFI-France 24 Discoveries Awards is a contest open to singers in Africa and the Indian Ocean islands since 1981. The awards have helped launch the international careers of many artists, among them Ivorian reggae singer Tiken Jah Fakoly, Malian music duo Amadou & Mariam and artist Rokia Traoré, also from Mali.

Since scooping the award in October last year, Elemotho signed a worldwide distribution deal with UK-based record label ARC Music and has just released his third album, Ke Nako (It’s time).

He doesn’t classify his music under a specific style. “I see myself as a performing artist and musical activist; I like to throw reality around, thus exploring the depth of the human spirit.”

From rural boy to modern lyricist, Elemotho stands out from the usual commercial and easily consumable sounds by using experimental ideas and delivering his own vision of music.

Rhodé Marshall caught up with him for an interview ahead of his South African tour this week.

How did your love affair with music begin?
I have always had music and storytelling around me growing up as a farm boy around the fire with my grandmother. It was not until University while studying African philosophy and psychology that the music bug bit me.

You compose, record and play your own music. That’s quite a feat.
For me, music is a spiritual thing. Sometimes the songs come to you, sometimes you have to look for them. Recording music is like a pregnancy. I don’t do too many records, because it takes time to live the stories, and even more time to tell them. The acoustic guitar just does it for me. I cannot truly explain the many hats I wear, I guess in the end every artist is after something.

Describe your music.
I do not like to describe the music I do, but if I have to I would say it’s Afro-fusion. The new sound of the Kalahari, melodies of meditation with messages for our modern times.

What are your thoughts on the Namibian music industry?
Namibia has a small population and an emerging arts scene. There is much potential for us. Many people do not know Namibia, let alone the music. But I believe it’s bound to change.

What genre of music is currently trending in Namibia?
There is an emerging Namibian folk trend with a number of female singers/guitarists, something to look forward to.

Which other Namibian artists should we be looking out for?
There are a number of them – Ras Sheehama, Erna Chimu, Ngatu and Big Ben to mention a few. I recommend a CD called A handful of Namibians that’s a compilation of different Namibian musicians and genres.

What is different about your latest album compared to your previous two?
With Ke Nako it’s the first time I worked with a producer, Christian Polloni. He brought out the best in me. It’s a very timely album, and I feel that being a father and a family man does a lot for me in terms of perspective and approach.

You’ve been touring Africa for the past three months. What are the most interesting things you’ve encountered in the countries you’ve visited? 
First and foremost I would like to say that Africa is a very diverse continent. Each country and region is producing an amazing patchwork of music, foods, history and more. Dakar, Senegal is quite something – an amazing city that rarely sleeps, a constant flow of culture, local and international. I found St. Louis to be magical –   the river and sea, the new and old town, Wolof, Arab and French-fused fashions. Cotonou, the capital of Benin, is a port side city with thousands of motorbike taxis and amazing people. It’s the land of Angelique Kidjo and the land of voodoo!

What’s next for you?
Only the sky is the limit.

How can fans interact with you?
I’m on Facebook  and my website is www.elemotho.com

South Africans can see Elemotho live this week:

Johannesburg
June 6 2013, 5:30pm
The Grove esplanade
Braamfontein

Pretoria
June 9 2013, 2pm
Alliance Francaise

Rhodé Marshall is the Mail & Guardian Online’s project manager and unofficial entertainment reporter. She started as a radio reporter and producer in Cape Town, before jumping into online news. With one hand glued to her phone and the other to a can of Coca-Cola, she is a pop culture junkie. Connect with her on Twitter

India’s Africans hold fast to ancient traditions

The tiny Sidi community, descendants of ninth century African migrants, have lived quietly along India’s west coast for hundreds of years while never losing touch with their ancient traditions.

A Certain Grace,  a new book by Indian photographer Ketaki Sheth, reveals how the community, many of whose members live in poverty, has assimilated in India while keeping its distinctive culture alive.

At the book’s launch in Mumbai last month Sheth recalled her first brush with the community during a 2005 holiday in Gujarat state in western India.

“I first saw the Sidi in Sirwan, a village in the middle of the forest given to them by the Nawab [Muslim prince] … in recognition of their loyal services,” she said. “I was intrigued.”

Estimated to number between 60 000 to 70 000 in a nation of 1.2-billion, the Sidi originate from a swathe of East Africa stretching southwards from Ethiopia.

The fiercely proud community discourages marriage to non-Sidis and outsiders are unwelcome, as Sheth found out when she was greeted by a group of young men eyeing her suspiciously at the entrance to another village, Jambur.

“If looks could kill, honestly, I would be dead. I could sense irritation, hostility, perhaps even resentment to this very obvious ‘outsider’,” she said.

Two of those boys – “still angry and daunting” – would later turn up in a portrait shot by Sheth, their resistance apparently having faded over the five years she spent working on the project that blends portraiture and street photography.

Jambur would become an occasional backdrop to her photographs, all shot in black and white using a manual camera.

Sidi children play outside their homes in the village of Jambur. (AFP)
Sidi children play outside their homes in the village of Jambur. (AFP)

Often described as descendants of slaves brought to India by Arab and other troops, the Sidi mostly live in villages and towns along India’s west coast, with a few groups scattered across the rest of the country.

Anthropologist Mahmood Mamdani, a professor at New York’s Columbia University, says many came to India not only as cheap labour but also as soldiers, with some rising quickly through the ranks and even acquiring royal titles.

Successive waves of migration saw Portuguese invaders bring slave-soldiers from modern-day Mozambique to India, Mamdani writes in an introductory essay to Sheth’s book.

“Their main attraction was not their cheapness, but their loyalty. In this context, slaves are best thought of as lifelong servants of ruling or upper caste families,” he writes.

Those deemed most loyal were given land that is now home to villages inhabited exclusively by Sidis.

Reinventing African tradition
US-based academic Beheroze Shroff, who has studied the Sidi for years, told AFP that they, like other migrants, “have reinvented their traditions”.

Some customs have disappeared, while others, involving music, dance and the addition of Swahili words to the Gujarati dialect spoken in Sidi settlements have survived.

Shroff said that Gujarati Sidi Muslims in particular still practise “elaborate rituals and ceremonies, which involve drumming and ecstatic dancing called goma (a Swahili word that means drum, song and dance)”.

“This is handed down, learned by each subsequent generation, from childhood,” said Shroff, who teaches at the University of California in Irvine.

Sidi musicians perform outside a mosque in the village of Jambur. (AFP)
Sidi musicians perform outside a mosque in the village of Jambur. (AFP)

The Sidis, considered a marginalised tribe since 1956, have been the beneficiaries of affirmative action policies in India.

The Sports Authority of India (SAI) even launched a special Olympics training centre in Gujarat in 1987, in an attempt to capitalise on the athleticism of the African-origin Sidis.

That experiment ended nine years ago amid reports of petty politics and infighting among administrators but it produced a string of national-level athletes, such as Mumbai-based Juje Jackie Harnodkar, featured in Sheth’s book.

Harnodkar is among few Sidis belonging to the middle-class. Most struggle to find jobs and literacy levels remain low as many can only afford to send their children to poorly-managed state schools.

And many children like Sukhi – a young girl whose portrait is Sheth’s favourite of the 88 photographs featured in the book – attend school infrequently.

“She did go to school when I last met her but very erratically. She must have been 10, 12 when I took that photo [2005]but when I asked her she wasn’t sure,” Sheth told AFP in an email.

Sukhi’s striking portrait, her eyes downcast, her curly hair askew, was taken on Sheth’s first shoot in Jambur, she said.

“The early morning light was flat because it was pre-monsoon, the bricks and cement behind her were static and graphic, and her stripey dress seemed to move like a river even though she was so still.”

Ammu Kannampilly for AFP.

Timbuktu’s literary gems in a fight for surival

There is a proverb in Timbuktu, the legendary medieval city in Mali’s desert, that says: “The ink of a scholar is more precious than the blood of a martyr.”

What Ahmed Baba, the 16th-century intellectual who said it, would make of recent developments is hard to imagine. At the multimillion-dollar Timbuktu institute bearing his name, fragments of ancient texts litter the corridors. The charred remains of not just scholarly ink, but the antique leather-bound covers that protected them against the harsh desert elements are blown by the hot Saharan wind.

During the last days of the Islamist occupation of northern Mali, the al-Qaeda-linked groups who seized control of the territory for almost nine months turned on the Ahmed Baba Institute. In what many people believe was a final act of revenge, and a senseless crime against some of Islam’s greatest treasures, they set the manuscripts alight.

Men recover burnt ancient manuscripts at the Ahmed Baba Centre in Timbuktu on January 29 2013. (AFP)
Men recover burnt ancient manuscripts at the Ahmed Baba Centre in Timbuktu on January 29 2013. (AFP)

“When the French started bombing, [the Islamists] set the manuscripts on fire as they were leaving,” said Abdoulaye Cissé, interim director of the institute. “Even after most had fled the town, a small group of jihadists returned to make sure that the fire was still burning.”

“We are all Muslims, and in Timbuktu our practical version of Islam has existed for centuries,” added Cissé, a native of the city who remained there throughout the occupation.

“But they practise an archaic Islam and do not consider these writings as the authentic Qur’an because they cover not only religion but science, astronomy, history and literature. That’s their ideology and we don’t support it.”

Cissé, who wears a distinctive silver ring engraved with an Islamic blessing that he had to remove under Islamist rule, foresaw that Timbuktu’s occupiers could target his precious charge. He and colleagues in Bamako, along with guards at the institute, the nightwatchman and his son, and numerous co-operative drivers and boatmen, worked for months by night, carefully packing most of the institute’s 45 000 manuscripts and ferreting them away by road or pirogue boat to the capital in the south.

“It was a dangerous thing to do, we would have been punished if we had been caught,” said Cissé.

“But people really came together to help us. Every time we told them what they were carrying, they all kept it secret and kept them hidden until they left the occupied area.

  • Read the fascinating account of how Cissé and his colleagues saved the manuscripts here.

These ancient manuscripts, which could number up to 400 000 across the region, are a source of pride in Mali – and across sub-Saharan Africa. As Africa gained independence from European colonial powers, the texts – the oldest of which date from the ninth century – became a means for the pan-African movement to refute racist notions of a primitive, unlettered continent with no written history.

Part of the manuscript collection. (AFP)
Part of the manuscript collection. (AFP)

“People think that African history is oral, that the blacks were not writing until the white man arrived in Africa,” said Cissé. “But we know written literature. That is our mission – to one day recreate the history of Africa through the knowledge contained in those manuscripts.”

Timbuktu, which is now a Unesco world heritage site, was founded in about AD1103 and flourished as a commercial hub of the caravan trade between black Africa and the Maghreb, Mediterranean and Middle East. The Ahmed Baba Institute, opened with much fanfare by the former South African president Thabo Mbeki in 2009, has just received about £65 000 in funding from Saudi Arabia to digitise its manuscripts.

“We want to digitally secure all the manuscripts before they are brought back to Timbuktu,” said Cissé. “But then they must be brought back. The manuscripts are meaningless if they’re not in Timbuktu.”

An unintended consequence of the Islamist occupation of the city has been a renewed global focus on the priceless manuscripts, which although mostly written in Arabic also include centuries-old writings in Greek, Latin, French, English and German.

But while the Ahmed Baba Institute is painstakingly working to preserve preserving this history, other manuscripts in Timbuktu are faring less well.

In a narrow, sandy street in the central Badjinde quarter, Kunta Sidi Bouya climbs a steep flight of cracked, mud-cement stairs to a special prayer room on his roof. He lifts half a dozen worn, fraying books from a shelf in the corner, bound exquisitely in antique and decaying leather, and lays them out on the rug on the floor.

Bouya’s home contains one of Timbuktu’s thousands of private manuscript collections, texts written by the family’s ancestors and handed down through the generations.

“My ancestor, Sheikh Sidi al-Bekaye, was a scholar who lived hundreds of years ago, he wrote these,” Bouya said proudly. “It feels special when you read something your own grandfathers have written. These are part of our family and they are private.

“You are only allowed to handle them when you have attained a certain level of Qur’anic education. Being able to read Arabic is not enough – you have to learn to understand them completely.”

Bouya (35) a teacher at a Qur’anic school in Timbuktu, said he feared for the safety of his family’s manuscripts during the occupation.

“The jihadists attacked and destroyed the shrine to one of my ancestors and we feared they would come for the manuscripts,” he said. “But in the end they never came door to door looking for them.”

Life was complicated under Islamist rule, Bouya said, and they were happy when the French liberated the town. But now his manuscripts face another, older challenge.

“We fear for their survival. They are old and they are suffering from the elements here,” Bouya admitted. “We try to touch them as little as possible and when people come here asking to see them to do research, we hide them to protect them.”

Unesco said the plethora of private family manuscripts posed a huge challenge to efforts to conserve Mali’s cultural heritage.

“Something has gone wrong with Mali’s documentary heritage,” said David Stehl of Unesco. “There have been various programmes for their conservation but they have not created the conditions to adequately protect the manuscripts. They have lacked transparency and co-ordination.

“Even the legal question of who owns these private manuscripts is unclear. You have hundreds and thousands of them right across Mali and they are very much tied to families and private owners. We are concerned about the degree to which they were handled during the Islamist occupation – people started touching them, dispersing them and, especially for those that were moved to Bamako, they’ve now been exposed to completely different climatic conditions.

“Something has to be done to protect these collections, but it is a huge task – monstrous actually.”

Preserving the manuscripts is crucial, experts in Mali say, not just to learn about the past, but also the future.

“We have not even begun to exploit the knowledge included in these manuscripts,” said Cissé.

“Translation is not enough – we need specialists to analyse and interpret them. They are full of parables, hidden messages, images – all of which take specialists to understand. Only then can we understand the practical value of this wisdom that was written down hundreds of years ago.”

Afua Hirsch for the Guardian. 

Believe it or not: Witchcraft in Kenya

When I first arrived in Nairobi, I saw the signs but didn’t know what they meant. Once I started understanding Swahili, I learned that the profusion of ads, nailed to fences, stuck on poles and printed on A3 paper, were for waganga (witchdoctors) offering assistance mainly in matters of business, money, love and infertility. In just about every suburb of Nairobi, you’ll find at least one ad, hand-painted, on a little plate, nailed high up on a pole. For an average of around 6000 shillings (R600) you can get to see one of these mgangas but it is advisable to avoid those who advertise on paper. They are reputed to be con artists.

(Pic: Kiragu Thuo)
(Pic: Kiragu Thuo)

There’s a distinct undertow of witchcraft to the interpretation of many unusual events in Kenya. Even Christians, confronted by some unexplained phenomenon, might exclaim “juju!” (black magic) in the middle of the conversation, and usually everyone will agree.

There are two main ‘currents’ of witchcraft practised in the country. The first, often termed kamuti (kah-moo-teh), is attributed to the Kamba people. It is Bantu witchcraft, similar to that known in South Africa and involves the use of charms, ‘muti’ and spells to achieve the client’s ends. This type of witchcraft is heavily traded in the areas of Kitui and Kitale, not far from Nairobi.

The second stream of witchcraft derives from the Mohammedan influences in East Africa – from the Arabs who landed here centuries ago – and involves the deployment of ‘genies’ (as in Aladdin) to achieve one’s ends. It is grounded in texts from the Qur’an and here, you ‘rent’ the services of a genie to fulfil your wishes for you. You can even buy a genie to work for you permanently and exclusively if you have a few hundred thousand shillings at hand. This type of witchcraft is heavily traded in Mombasa, at the coast, and is reportedly common among the Swahili people. It’s even more strongly associated with Zanzibar, and Dar es Salaam on the Tanzanian coast.

Recently, a friend of mine was involved in a minibus accident. She was the only one without a scratch. The makanga (conductor) with a bleeding face wanted know where she got her juju from because he needed some.

Another friend’s sister was victim of a grenade attack at a church in Mombasa. Shattered glass went everywhere but she, standing at the window, was not injured. She said that people were muttering things about the protection afforded by genies. Interestingly, she was at church but had recently converted to Islam, not that anyone knew. Not anyone visible, anyway.

From the Bantu-Kamba kind of witchcraft there’s a tale so oft-repeated it has reached the level of urban legend. It’s the story of an unfaithful wife and her temporary lover who become “stuck” after having sex, like what happens to dogs. Of course, medical science refutes the possibility of this occurring among humans. But it happens – a YouTube video says so.

The clip shows a rather large woman and a rather small guy lying on top of her, unable to do anything to release himself. The woman is covering her face from the peering crowd, and the guy looks terrified. They are eventually released from each other when the husband comes into the room and does something to free them. One can’t see what he does in the video but the stories I have heard mention the uncapping of a Bic-type pen or the flicking of a Bic-type lighter.

Stories of “Nairobi girls” using this kind of witchcraft to secure a man is also legend. This kamuti involves the insertion of herbs or crystals into the vagina to keep the man abnormally attracted and emotionally ‘stuck’. The man will also be unable to gain an erection with any other woman. These kinds of stories are discussed very matter-of-factly in Nairobi. It is known to be a part of the girls’ personal arsenal, and is reputed to be a common practice.

Despite its widespread acceptance in Kenyan culture, witchcraft obviously has it detractors too. There have been horrific incidents of ‘witch’ lynchings – in 2009, five elderly men and women were burned alive by villagers in western Kenya who accused them of bewitching a young boy.  Last year, The Star newspaper reported that elders in the coastal Kilifi Country were fleeing their homes out of fear of being killed for practising witchcraft.

(Pic: Kiragu Thuo)
(Pic: Kiragu Thuo)

Speaking to other Kenyans, mainly from the coast, I have heard stories of genies and what they can get up to if their master is properly paid and clearly instructed on the client’s wishes. I met a guy called Gilbert who told me he was forced to have sex in his car with a work colleague who had a crush on him. His brand new car refused to start and wouldn’t move when he tried to push it. Once he had done the deed with her, it started on the first turn.

During the mayhem that followed Kenya’s disputed election results in 2007, shops were looted and burned. A Mombasa youth grabbed a TV from a shop and escaped with it on his head. When he got home, he was unable to get the TV off his head. He only managed to remove it when he went back to the shop to return it. The clip isn’t on YouTube but millions of Kenyans saw it on national TV.

Skeptics will be wont to dismiss these juju stories as just that: stories. But before you do, let me add my own experience for light reflection: A few years ago, when I was researching witchcraft for a book I was writing, I was referred to an mganga based in Mombasa. He agreed to be interviewed on condition I undertook ‘rehma’ (spiritual cleansing) with him. I couldn’t resist.

I met the mganga at the Nyali bridge, just outside Mombasa. He looked very ordinary, wearing a plain shirt, khaki pants and flip-flops. He took me to a small, corrugated shack in the village of Bamburi. A fire was lit, molasses tobacco smouldered near it and incense was stuck in a banana to attract the genies. Evidently, genies like sweet things.

The ritual involved handfuls of rice sprinkled over me amid chants of a Muslim prayer. A goat was forced to inhale my recollection of negative experiences over a small fire and I was washed down by a live and wetted chicken. Salve (mafuta) was spread on my breastbone and applied to my palate and I left with little packets of sticks and ointment that I was to apply every morning to ward off evil. It took about 20 minutes in all, and I paid the mganga 8 000 shillings (R800) for the privilege. I didn’t feel any different afterwards, but the guy that had introduced me to the daktari (doctor) warned me that rehma would make me become “a magnet for women”. I laughed at the time and didn’t think any more of it.

I don’t consider myself to have any special appeal to women, but let’s just say that for the few weeks after my rehma, I had a torrid time of it all.

Brian Rath was born and raised in Cape Town. He now lives and writes in Kenya, and has a novel due to be published shortly.

Author’s note: Please be cautious of the claims and contacts that are provided in the comments section under this article. Readers have been given misleading information and have lost money. Exercise proper judgment.

Mokoomba: Zimbabwe’s new sound

Abundance Mutori was just 14 when he began playing with the other members of Mokoomba. It was in 2002, when they were at school together at Mosi-Oa-Tunya High in Victoria Falls, Zimbabwe, and he remembers that their biggest problem was getting hold of instruments. “We didn’t have our own, and even at school when we had a music class we didn’t have any guitars or keyboards,” he says. “But my dad used to play in church and had a bass guitar at home, and he first showed me how to play. From then on, I was practising by myself or jamming with the guys.”

Now, in their mid-20s, Mokoomba are being feted as Africa’s most internationally successful young band after a rise that is as deserved as it has been remarkable. After all, they come from a country with an international musical profile that has sadly declined since the glory days of the 80s, largely because of Aids. Even in Zimbabwe they were initially considered outsiders. They sing in Tonga, a language that most Shona and Ndebele speakers can’t understand, and come from a tourist border town that’s a 12-hour drive from the capital, Harare.

Mokoomba playing in Belgium in June 2012. (Pic: SOFAM Strange Milena/mokoomba.com)
Mokoomba playing in Belgium in June 2012. (Pic: SOFAM Strange Milena/mokoomba.com)

The group are signed to a small Belgian label and were unknown in Britain until their second album, Rising Tide, was released there last August. But by the end of 2012, they were featuring in the annual “Best of” lists in publications from the Guardian to fRoots, and so it is no surprise that they should win Songlines magazine’s newcomer award, announced last week. This summer they will be playing at major festivals across Europe, including Womad in Britain.

They succeeded thanks to a mixture of determination, skill and luck. As teenagers, they got most of their experience with the help of a local bandleader, the late Alfred Mjimba, who was “the only guy with musical instruments in the area. You’d go round to see him, and try to play this or that, and if he liked what you did, he’d say: ‘There’s a gig, come and play with us.'” He was no major star, but he played in local hotels and small clubs – though it was initially impossible for Mutori to play in bars because he was the youngest member of the band, under-age, and his parents objected.

The would-be musicians lived in Chinotimba township, a “high-density” area that was first established in the pre-independence zone outside the smarter, affluent one reserved for white people and tourist hotels near the spectacular waterfall. As a border town, close to Zambia, Botswana and Namibia, Victoria Falls was a “melting pot”, according to Mokoomba’s young manager Marcus Gora. “When you were growing up there, you couldn’t escape different cultures, languages and musical influences. There was music from the local Tonga tradition, Congolese rumba and soukous, funk, pop from the Beatles, and even country. That’s what our parents played.”

The band reflects these different cultures. Mutori plays bass, and his bandmates include Trustworth Samende, an excellent guitarist, and the powerful, soulful singer Mathias Muzaza, who travelled widely in southern Africa as a boy with his Angolan and Zambian parents. The band played in restaurants, or busked for tourists, and developed their own distinctive style. “It’s Afro-fusion,” says Mutori. “A mixture of Tonga rhythms, soca, soucous and the other things we listened to growing up.”

Mokoomba broke out of Victoria Falls, and then Zimbabwe, with the help of the non-profit NGO Music Crossroads International, which organises workshops, festivals and competitions in Africa. The band took part in a local competition in 2007, and the following year were invited to the InterRegional festival and contest in Malawi – which they won. Their prize was to record a six-track album, which has not yet been released in Britain, and a European tour.

International success didn’t prove easy at first, but Mokoomba were at least getting noticed. In Malawi they had met Manou Gallo, the bass player and singer from Côte d’Ivoire, best known for her work with Zap Mama. She collaborated with the band at the HIFA Harare arts festival in 2010, then produced last year’s breakthrough Rising Tide. Enthusiastic reviews, and an impressive appearance on Later… with Jools Holland followed.

Now, as the band prepare for a lengthy summer tour, bolstered by their latest award, it seems that Zimbabwean music could enjoy an international renaissance. Of the country’s 1980s heroes, Oliver Mtukudzi is still in excellent form, while Thomas Mapfumo, who lives in the US, returns to Britain next month to play at the Field Day festival. But several of that glorious band the Bhundu Boys have died. “The momentum was lost because of Aids,” says Gora. “A whole generation was decimated, and they were the core of the music industry at the time.”

How do they feel about Robert Mugabe and the political upheavals in Zimbabwe? Gora is diplomatic. “As a band, we have made a conscious decision to build our career outside of politics until a time we are established enough to have an effective voice.”

Mokoomba may be leading the country’s international music campaign, but it has taken time for Harare audiences to appreciate their Tonga-language Afro-fusion, which has little in common with the fashion for the Congolese-influenced Sunguru music of local hero Alick Macheso. But that’s beginning to change, as Mokoomba spend more time living and performing in the capital. “Baaba Maal is appearing with us when we play [at] the Harare festival on May 5,” says Gora. “Mokoomba is becoming a big band.”