Too much political chatter… Can we get a revolutionary song?

In the history of mankind, music has always played a superior role in the communication of emotions and rallying of solidarity. As an art form, songs have been composed to entertain, warn of impending danger and even to educate the masses. Every human occasion has, quite naturally, had a song composed to emphasise its significance, and or disruption of the norm. Birth, planting and harvesting seasons, marriage, war, and circumcision, among other occasions where human beings are the subject, have had people sing to acknowledge them. 

Songs have been the common language that defines unity for a course or a common purpose. While some songs get more popular than others, based on the number of people chanting and dancing frantically to the beats, it is not lost on us that political and revolutionary songs are among the most popular and convincing. Why? Because they are an overt expression of inherent people power and help draw clear cut lines between the contestants and their acolytes. 

As an art form, songs have been composed to entertain, warn of impending danger and even to educate the masses.

Ergo, it becomes critical to reflect on songs that remind us of our political reality. Not just because it is about time politicians went on full swing to cash in their political chips at the detriment of their impoverished and disenfranchised subjects, but because the songs call us to consciousness. They trigger our emotions to realign with the art of reason in assessing our political options and making decisions that have a long-lasting impact on the socio-economic and political aspects of our lives and those of our progeny. 

Denouncing KANU ideology

In 2002, when the former President Moi’s reign was coming to an unpopular and long overdue disgraceful end, the country sang: “Yote yawezekana bila Moi” in unison. The people were united in denouncing the KANU ideology— and its proponents—which had been used to repress Kenyans for close to two and a half decades. What could not be spoken loudly in baraza meetups was exclaimed and sang away, with little worry for potential backlash from the state actors. The end of a tough political reign had come to a close, eventually giving Kenyans a sigh of relief. 

Of the musicians who braved the times and sang out the challenges that held Kenya breathless by the neck was Eric Wainaina. He released “Nchi ya Kitu Kidogo” hit in 2001 ahead of the following year’s general elections. The song, which speaks of the rampant culture of corruption especially in government institutions such as the police service, became an instant sensation. The majority felt that their voice was amplified at last and that their plight was being mainstreamed. The touts, farmers, school-going children, teachers, secretaries, doctors: all sang in one voice. The song cut across the professional and class divide and not only reminded us of our shared plight but also our humanity and Kenyan-hood. The song became a common unifier of the people who were on a similar course. 

After the political transition, the atmosphere was optimistic. Kenyans believed, and rightly so, that a time to restore the lost glory of statehood had come. Soon thereafter, they realised that the symbol of impunity— the mask of corruption, unprecedented plunder, and disregard of the rule of law— had just changed faces and nothing worth reckoning about beyond. Things, in the socio-economic and political sense, would not be as tough, but not any easier either. To reflect on the ills, Hip Hop became a key genre of music in the expression of the reality that engulfed us. Hence, the veteran revolutionary singer Kitu Sewer of the larger Ukoo Flani Mau Mau became one of the most consistent voices that many Kenyans resonated with.  

'TUMECHOKA!'

Of Kitu Sewer’s remarkable songs is Wanasiasa, which was released about a decade after the end of KANU era. In the song, he speaks about corruption in the manner of cartel systems and tenderpreneurship, which became characteristic of Kibaki’s presidency. He also articulates the role that politicians play in dividing Kenyans during the electioneering period and causing clashes for their selfish gains. 

In the song, he wonders, “Hapo ndo mi hujiuliza joh, hii siasa hutusaidiangaje saa zingine?” or how does politics benefit the suffering mwananchi? It is indeed a universal and a timely question to pose: how do we, as citizens being ruled over with an iron fist by a regime that is blind to our economic plight and deaf to our deafening cries against impunity and corruption, benefit from their politics? The forthright answer is that we do not benefit as intended. Instead, we are suffering on account of a few, who have held our country at ransom for their selfish interests. It is time to say, in unison: TUMECHOKA!

Revolutionary songs 

But the politicians, being the political sleuths, and canny, they understand that to trap us, they must first bombard us with choices, which, if we had our own, we would not look their way. They present countless political promises to begin the campaign cycle. They do so in total disregard of the challenges their subjects are enduring; be it hunger, poverty, joblessness or diseases. Like the vultures who hover above a dying prey, they take advantage of the vulnerable people to meet their interests, as inhuman as that is. As Kitu Sewer sings, “Tumechoka, tumesota na bado siasa, pang’ang’a, kelele za soko; ni hadi lini mtatukoroga ubongo?” it is clear that politicians will not stop politicking. But what will happen? We, as their hurt subjects, must chant the revolutionary song that bila wanasiasa yote yawezekana, to emancipate ourselves from their vicious cycle in which they have fettered us, by making our lives deplorable. Let us sing a revolutionary song