I Discovered The Lost, Forgotten African Rhythms At Club Obbligato

Aug 09, 2003

The drums fiercely rumbled in the night. Against a backdrop of a rich and calculated riot of music instruments, the musicians’ vocals assumed a reverent demeanour.

By Raphael Okello
The drums fiercely rumbled in the night. Against a backdrop of a rich and calculated riot of music instruments, the musicians’ vocals assumed a reverent demeanour. Solemnly, I imagined the lost and forgotten traditions only known to my ancestors long gone. I became nostalgic!
The night skies twinkled with stars and Club Obbligato’s dim African village courtyard reverberated with robust African rhythms. I had gone to attend Percussion Discussion Africa perform in what was their first show since arriving from their recent travels in Zanzibar. They called it ‘The Welcome show.’
As it is every Wednesday night, a decent audience turned up last week for the show that started at 8:00pm. Dressed in neat and well cut out bark cloth suits, they set up a rustic setting that did not disappoint. Their pulsating performance of 13 different songs from different tribes in Uganda aroused magical sparks. By the end of the show, at about 11:00pm, the small gathering was addicted to the dynamic rhythms and demanded for more!
In each performance, the synchronised sounds of metallic rattles, gourd shakers, long and lead drums among other instruments, boldly proclaimed the messages imbued in the songs.
I was deeply tormented by the presence of western contemporary instruments like the saxophone and electric guitar. But I suppose they were reflective of today’s inevitable cultural coexistence. And the sorrowful shriek of the saxophone played expertly by Saidi Kasule could not have been more eloquent in expressing the plea and compassion in the song, Tuyambe ‘aabana (lets save unfortunate children of the world). The saxophone, being the predominant instrument, played out the verses while Hermann Ssewanyana (spanking the lead drum with verve) and the three back up girls together with other instruments, sang the chorus in harmony.
The theme of their songs varied from anguish, piety, love to cultural revival. The intricate rhythm and poignant lyrics in the song, Muafrica, amplified the distress embedded there within. The lead vocalist, Mike Musoke’s husky voice, mapped out the glaring distress and despair that has stifled this beautiful African continent. His tone almost wailed away in pain.
The instruments begun to reverberate with a strange melancholic ear splitting drumbeats accompanied by hollow strums of the bow harp.
But in spite of these troubles, Africa remains a remarkably beautiful continent abound with unique natural and cultural wonders.
In tribute to this awesome wild beauty, the song Wild Africa, was punctuated by a series of resonant traditional instruments.
From the heart throbbing wild drum vibrations, gourd shakers, metallic rattles tied around Ssewanyana’s ankles to frenzied spanking of the long and lead drums, their was a profound declaration of Africa’s beauty.
Veteran Herman Ssewanyana (lead drummer) and Sam Bakkab-ulindi (long drum) comically switched drums, took deliberate tumbling and rolled on the ground, but continued to dispense their dexterity in percussion. It was like a traditional ceremony relapsing into a frenzy.
There was an indisputable power in traditional music. And there was an almost mythical authority commanded by the rhythm of the African drum. Yet at the peak of the show, the African drum regressed into distress in the song Zamberi!
This vigorous song accentuated the woes of the African drum, the drum that once upon a time commanded everyone’s respect. Musoke’s feverish voice soared high into space and seemed haunted.
Several days have gone by but the sound of the drums and the strums of the bow harp keep resounding in my ears.
I keep wondering why we have forsaken the African Drum!
Ends

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