Maongezi na Wasanii/ Interview with Arushan Artists : Gsan of Xplastaz and Prosper Shayo of Moto Mkali

Habari,

Nilipata fursa kuongeya na Gsan Rutta na Mafanikio Shayo wa Moto Mkali, wote wasanii wa Arusha na wana Hip-Hop kuhusu waraka nilikokuwa nauandaa kuhusu historia ya vijana wa Arusha. Huu waraka unachapishwa na chuo kikuu cha Yale hapa Marekani. Kwa ufupi mazungumzo yetu yalilenga juu ya masuala ama maswali kwanini vijana waliunda makundi ya sanaa, walipata wapi maliasili kwa ajili ya mashairi yao. Hali kadhalika, maswali yalilenga nyakati hawa wasanii waliibuka na kwa nini vijana waliamua kuchukua mziki kama njia ya kuzungumzia masuala yanayowakabili. Yalikuwa mazungumzo mazuri sana yenye kusisimua hata kama wewe sio mfuatiliaji wa muziki ama Hip-Hop kwa ujumla maana wanayozungumzia hawa vijana ni masuala ya kimaisha, ukosefu wa kazi, siasa za Mwalimu Nyerere za Ukombozi, utamaduni na maingiliano kati ya makabila, dini na tamaduni mbalimbali.  Jumuika nami katika hya mazungumzo yanayomulika jitihada za vijana katika kujenga maisha bora na Tanzania bora yenye usawa, haki, na maendeleo.

picha na DJ J4

Gsan utangulizi

Gsan na maoni yake kuhusu mitindo ya miziki

Sanaa ya kurekodi vionyo vya kiasili kutumia technologia ya kisasa

Prospa Shayo anazungumza kuhusu muziki, asili, na historia

Inaendelea kutokea kipengele cha kwanza

Inaendelea kutokea kipengele cha pili

Mazungumzo kuhusu mwanzo wa kikundi cha Hi V baadaye Moto Mkali

Mazungumzo kuhusu Ukimwi na mada ya muziki

Mazungumzo kuhusu technology na athari yake kwenye sanaa ya kuimba

Greetings,

I had a wonderful and rare opportunity to speak with Gsan Rutta and Prosper Shayo of Moto Mkali group. They are both Arusha artists, channeling their artistic energies through Hip-Hop. I interviewed them to gather materials for a book chapter I am writing about the history of youth movement in Arusha town. The work will be published by Yale throug the African Studies Program. In brief, our discussions centered around the issues and questions of youth cultural movements. Specifically, I asked questions about why the youth in the periphery of Arusha town like Kijenge formed these nascent,informal organizations. Because music was one way these organizations channeled their grievances and concerns, I was curios where these artists found examples/inspirations/materials for their artistic productions. The discussion were interesting, riveting as they combined personal experiences and memories to make sense of a cultural movement that these young people were part of. This exchange was interesting even if you are not a music enthusiast because it is through cultural production like music young people speak and contest dominant narratives of power, ownership and culture.  These young people spoke about culture,urban dislocation, thoughts of Mwalimu Nyerere,  and globalization. Join this conversation and get a sense of how young people are engaged in the a creation a better individual and a prosperous Tanzania.

Best regards,

Mohamed Yunus

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