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KENYA'S BOOMING CULTURE |  2003 has been an opportunity for Kenya to celebrate its great cultural wealth- with the launch of MABOOMBOOM, a festival taking a retrospective look at 40 years of cultural independence- and the growth of music, art and dance from time honored traditions to the modern cutting edge.
The MABOOMBOOM Kenya Arts Festival ran from the 7th until the 16th of March. This was undoubtedly the biggest multi-discipline arts festival ever seen in East Africa, incorporating acrobatics, visual arts applied arts, comedy, cuisine, dance, fashion, film, literature, music and theatre over an action-packed 10 days- and there are plans for an even bigger festival in 2004.
 The name Maboomboom was derived from the Giriama community's name for large pounding drums used at festivals and celebrations– an excellent example of onomatopoeia in action- Mabumbumbu.
The spirit of Maboomboom was one of national unity- of artists from many different disciplines coming together to share skills, talents and the sheer joy of performance. Most significantly this involved a meeting of the traditional and modern, and a celebration of the middle ground between the two. The festival organizers (the newly-formed Kenya Arts Coalition) saw Kenya’s 40 years of independence as a time of exciting cultural upheaval- when age old traditions met, merged and melded with new ideas from within and without.
 The festival brought artists from all over Kenya to celebrate their differences in spectacular style. Hosted in the capital Nairobi, Maboomboom was an excellent opportunity for visitors to discover that Kenyan culture is about far more than just the popular traditional dances of the Maasai.
Kenya’s cultural heritage is one of the world’s most diverse and rich. 42 separate communities- each with their own traditions and customs- coexist within the Kenyan borders, while the modern cultural melting pot has produced some of Africa’s most exciting young artists.
Nairobi was given an artistic facelift for the festival- with specially commissioned murals painted on previously dilapidated public walls to liven up the city. Special gallery shows of local paintings photography and sculpture were supplemented with public exhibitions in shop windows, hotel lobbies and banks. Local hotels and restaurants joined in the spirit with special menus in celebrating traditional Kenyan cuisine throughout the festival.
 Kenyan fashion was a major feature of the festival with two of the country’s best established designers - African Heritage and Kiko Romeo leading a coordinated presentation of works by over 20 up and coming designers. This was a showcase of world class garments, fusing modern styles with traditional cloth and design from all over the country.
On stage, Nairobi’s theatres staged a retrospective of their most popular plays, dramatic recitals and productions including the highly popular Mbalamwezi Players, while there were special screenings of locally produced films.
While Kenya continues to be a popular location for foreign film makers, such as Caroline Link- whose Kenyan based Nowhere in Africa recently won the Best Foreign Film Academy Award, or the creators of the soon to be released Tomb Raider sequel, the local film industry is still in its infancy. Special talks and discussion groups with local film producers Njeri Karago and Mumbi Kaigwa were held during the festival to discuss the way ahead.
 Turning to an older medium for presenting a story, East Africa has a great tradition of poetry and storytelling. Swahili, the lingua franca of the region is considered one of the continents most lyrical languages- and along the coast lengthy poems laden with proverbial wisdom are still used as a form of social criticism and debate. Maboomboom featured the best of both traditional and modern poetry, as well as storytelling with Neera Kapur and Kikwetu with a special exhibition by women artists and story tellers.
 Acrobatics have also become increasingly popular in Kenya. While at first this was a simple form of entertainment at celebrations and organized functions, a growing number of young performers have taken this art form to a new level- combining elements of traditional dance and modern gymnastic technique. In Nairobi’s poorest suburbs, acrobatics has become a popular form of exercise, entertainment, and a low cost and accessible form of performance art. For Maboomboom, the Sarakasi Trust gathered together the country’s best acrobats, including Black Jambo, Salto Jamboree and Simba Zambezi.
Another growth area in Kenya has been stand up comedy. There has been a long tradition of comedic performance in Kenya, usually by small groups of travelling players who would use skit comedy and impersonations as a form of busking. Recent years have seen a more refined form of stand up become very popular across the country. In the late 1990’s three young comedians working under the name Redykulass become national celebrities, through their use of incisive political satire. Their impersonations and lampooning of Kenyan politicians were believed by some to have played an important role in changing national attitudes towards democracy and make political criticism more widely acceptable and accesible. Their popularity led to several hugely successful TV series, radio shows and videos.
Maboomboom saw this tradition continuing, with special comedy shows at the Kenya National Theatre led by up and coming comedy group Publik Noisemakers, performing their revue Who’s Stupid Now.
 It wasn’t just comedians who played a unique role in Kenya’s recent peaceful and democratic transferal of power. Local musicians also joined the voices of political critics and satirists. Indeed, Kenya’s 2002 election campaign by the opposition Rainbow Alliance was driven by a single song. Unbwogable by young musicians Gidi Gidi Maji Maji, became an anthem for the party that were voted to victory to the strains of “We are Unbwogable (unbeatable)”
The song contains strong rap and ragga influence, and it was this blend of modern and traditional styles that Maboomboom sought to celebrate. The French cultural centre staged performances of traditional dancing by popular groups such as Taffi, combined with the modern dance stylings of Compaigne Gaara.
 The rise of Kenyan music past few years has been unprecedented. While once young Kenyans were devoted fans of American rap and R and B artists, today Nairobi’s airwaves and club scene are almost completely dominated by local artists.
This musical revolution has been spearheaded by a unique Kenyan hip hop sound- combining infectious rhythms with a lyrical mix of sheng (a hybrid urban street language)and Swahili. This sound was driven to the top of the charts by artists such as Nameless (whose massive hit Ninaoki was easily the most played song in Nairobi last year), Mr Googs and Vinnie Banton (whose Wasee (Githurai) became an anthem for urban Nairobians) Poxie Presha, K-shaka, Duex Vultures, Nyota Ndogo, K-rupt and many more- many of whom performed during Maboomboom.
The success of these artists saw several Kenyan artists nominated for Koras- the African equivalents of the Grammy’s held in South Africa each year. Nominated artists included Eric Wainaina, a classically trained musician who had a huge hit with Nchi ya Kitu Kidogo and the more traditional sounds of Suzanne Owiyo.
 Maboomboom began and ended with events showcasing Kenyan music, including a showstopping concert in the city’s central Uhuru Park which drew a crowd of over 40,000. Alongside some of Kenya’s best known performers, these concerts featured popular female vocalists Mercy Myra and Lydia Achieng Abura, Zannaziki and gospel singer Henrie Mutuku.
The only low note was struck when one of Kenya’s most popular young musicians E-sir was killed in a road accident on the last day of the festival.
21 year old E-sir (Issah Mmari) had risen to the top of the ranks of Kenyan hip hop with a succession of solid hits including Leo ni Leo, Mos Mos and Boomba Train a duet with Nameless. His album Nimefika (I’ve made it) was released just before his death.
His tragic death was met with a nationwide outpouring of grief, and radio and TV shows dedicated to his life and music were repeatedly aired over following weeks.
 The overwhelming faith in Kenyan music has come as a surprise to those who believed that local artists could never support with imported American and European pop.
But as the success of Maboomboom has shown, Kenya has a great wealth of artistic talent both discovered and undiscovered. Proud of its past but positive about its potential future- Kenya is a performing powerhouse.
Plans are now being made for the 2004 Festival, which will be even bigger and better. If you are planning to visit Kenya next year- try and be a part of Maboomboom. Stay tuned to Magicalkenya.com for updated information.
For Nairobi travel information please see our Related Links above.
For more info and updated visit the official website or email the organizers
Photography by Joep Lennarts
Thanks to Maboomboom and Phat! Magazine. |
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