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This work examines the creative lives and careers of Muhidin Maalim Gurumo and Hassan Rehani Bitchuka, two of Tanzania's most well-known singers in the popular music genre known as muziki wa dansi (literally, "music for dancing"), through an ethnomusicological lens.
List of contents
Foreword by Hassan Rehani Bitchuka
Introduction
"Jembe Hilo Limeondoka" ("That Hoe has Departed")-Farewell to Muhidin Maalim Gurumo
Scope of the Book
Approaches
Sources and Evidence
Organization and Layout
Chapter 1: Introducing Muhidin Maalim Gurumo and Hassan Rehani Bitchuka
"Gurumo the Great"-A Reluctant Star in Dar es Salaam
Muhidin Gurumo's Mitindo (Styles) and the Practice of Tanzanian Dance Music Branding
"Bitchuka the Bold"-A Transcendent Voice in Tanzanian Popular Music
Hassan Bitchuka's Cross-Dressed Vocal Persona
Hassan Bitchuka's and Muhidin Gurumo's Compositional Aesthetic
Chapter 2: Setting the Stage-The Cultural History of the East-Central African Rhumba Scene
The Spread of the Congolese Rhumba
The Emergence of Muziki wa Dansi
Sikinde Live! -The Tanzanian Rhumba Scene in Dar es Salaam
Chapter 3: Muhidin Gurumo's Musical Development and Work with Nuta Jazz Band
Muhidin Gurumo-The Formative Years (1939-1959)
Muhidin Gurumo's Stints with Kilimanjaro Cha Cha Jazz Band, Rufiji Jazz Band, and Kilwa Jazz Band (1959-1964)
The Origins and Early Years of NUTA Jazz Band
Safari of NUTA Jazz Band and their Emerging Fan Base
Growing Mtindo wa Msondo (Msondo Style)
Considering Provenance(s)-The Case of the Song "Nimwokoe Nani?" (Whom shall I rescue?)
Chapter 4: "Mtoto Mtundu" ("Precocious Child")-Hassan Bitchuka's Early Musical Career
Hassan Bitchuka-The Formative Years (1956-1973)
Hassan Bitchuka Joins NUTA / JUWATA Jazz Band
State Song Patronage-The Case of the Song "Nidhamu ya Kazi" (Work discipline)
Chapter 5: Mlimani Park Orchestra-The "Classic Period" (1978-1985)
Origin Stories
Hassan Bitchuka Joins Mlimani Park Orchestra
"Hapa Tunapangusa Almasi" ("Here We Polish Diamonds")-Band Practice during Ramadan
The Black Warriors Recording Project
Mlimani Park Orchestra's Rise to National and International Visibility
Chapter 6: The International Orchestra Safari Sound Era (1985-1987)
Businessman Hugo Kisima's Coup de Tat with International Orchestra Safari Sound
Mtindo wa Ndekule (Ndekule Style)
Hassan Bitchuka's Return to Mlimani Park Orchestra (1987-1991)
The "Kumi Bora" ("Ten Best") Piracy Scandal
Chapter 7: The Ottu Jazz Band Era (1991-2004)
From JUWATA Jazz Band to OTTU Jazz Band
"Baba wa Muziki" ("Fathers of Music")
Hassan Bitchuka's Scandalous Departure from OTTU Jazz Band
The Msondo-Sikinde Clan Battles Intensify
"Wachawi Wapo, na Wanaua Watu" ("Witches are There, and They Murder People")
Chapter 8: Msondo and Sikinde in the Era of Kujitegemea (Self-Reliance)
The Msondo-Sikinde Clans Respond to the Free Market Economy
Sikinde-"Ngoma ya Ukae" ("The Music of Home")
Mashindano! (Contest!)
Zilipendwa (They Were Loved)-Golden Oldies and Musical Nostalgia
Chapter 9: Muhidin Gurumo's Retirement and Passing
Retirement Plans (M. M. *Gurumo 2010b)
Bitchuka and Gurumo Reunited Onstage
Eulogy for a Musical Hero
Concluding Remarks: The Legacy of Muhidin Gurumo and Hassan Bitchuka
Appendix I: Glossary
Appendix II: Government-Related Acronyms
Appendix III: Muhidin Gurumo and Hassan Bitchuka Band Chronology
Appendix IV: Extended Interviews with Muhidin Gurumo
A Conversation with Muhidin Gurumo about Mitindo
A Conversation with Muhidin Gurumo about Composition
Appendix V: Online Discussion: "Bitchuka ana Mafumbo Mengi Yake" ("Bitchuka has his Many Mysteries")
Appendix VI: Documented Msondo / Sikinde Studio Sessions at Radio Tanzania-Dar es Salaam
NUTA Jazz Band
JUWATA Jazz Band
Mlimani Park Orchestra
List of Interviews Cited
Archives Visited
Discography
Bibliography
About the author
By Frank Gunderson - Foreword by Hassan Rehani Bitchuka
Summary
This work examines the creative lives and careers of Muhidin Maalim Gurumo and Hassan Rehani Bitchuka, two of Tanzania's most well-known singers in the popular music genre known as muziki wa dansi (literally, "music for dancing"), through an ethnomusicological lens.
