Ugandan icon in the making
Mar 27, 2003
Kawesa is one of the most dynamic and foresighted young artists I have come across; one who successfully integrates artistic creativity with a deep-seated inspirational philosophy.
By Sebidde Kiryowa
Kawesa is one of the most dynamic and foresighted young artists I have come across; one who successfully integrates artistic creativity with a deep-seated inspirational philosophy. He has no qualm preaching about his beliefs to anyone who cares to listen.
That aside, Kawesa, unlike his contemporaries, is a much deeper artist. His artistry is inspired by deep appreciation of his cultural heritage and an obligation to better the world around him.
It is a rare motivation in an age where contemporary Ugandan music by young artistes is a fast moneymaking machine, and many are falling over themselves to cash in on the next ‘big’ single. Kawesa’s music seeks not the instant-but-fleeting appreciation. It is not motivated by the urgency to make a quick buck for survival.
In a generation where the most lucrative and a la mode musical themes revolve around ‘detoothing’, adulation of lovers and how best to survive on Kampala’s streets, Kawesa surprisingly intones about the spirit of Africa, taking pride in our cultural heritage.
Yet he deserves credit for not alienating his audience regardless of the themes he choses. His sound is steeped in traditional African rhythm with many traditional musical instruments like entogoli (tube fiddle) and the thumb pianos clearly audible in the background.
For all the authentic African tribal chants and harmony, he still manages to retain a tasteful contemporary flavour, enough for youth to crave his music. He cleverly blends western rhythm and blues (R&B) elements with ethnic melodies.
Kawesa’s first album, Yelele was released in 1998 on Kelele Records, a German-based record label dealing in African music. It took him two years to put Yelele together and has taken him since then to put his latest Spirit Of Afrika together.
The 14-track album sounds more like a compilation of Kawesa’s radio hits since his last album. Besides the familiarity from radio, Kawesa has performed these songs on several occasions. That some of these songs date as far back as 2000, is most certainly a drawback to Spirit Of Afrika.
To those familiar to them, they are nothing but recycled material. The feeling that you are exploring new material is greatly watered down. But that also works in favour of the album, especially for recent releases like Yadungu.
The title track was meticulously put together by Andrew Vee and Kawesa Africa himself. The same pair wrote it in RadioActive Studios, Bugolobi.
The song is a light blend of mainstream western pop and African elements, which are mainly embodied in the harmonies. Kawesa’s vocal gaiety is one point of interest: “This message in the song is that the spirit of Africa is a sense of self worth and value,†Kawesa says.
In comparison, Omuluyanja, which employs entogoli and is sung in Luganda, is more stimulating and satisfactorily for lovers of African music. The sound is raw and unapologetically African.The lesson: “The things we derive the most pleasure from could be our very own destruction. Look at sex and AIDS,†Kawesa says.
More stirring but disarmed to an extent by the fact that it is initially in English is a Soldier Boy. The song is a retrospective look at the life of a kadogo (child soldier) who laments how his childhood is stolen from him and how he is forced to commit atrocities, which end up destroying him in the process.
Kawesa’s creativity is stretched remarkably on Yadungu. He draws from the rich culture of the Chagga people of Mount Kilimanjaro. Inspired by a Chagga folk tale, the song metaphorically uses rats to symbolise social vices.
Spend Time In Africa, Miss Uganda, and the dance track Spend Time In Africa are all feel-good songs that celebrate Africa. Patroitic, yes, but not too message-laden for light-hearted enjoyment. All the songs found favour with radio listeners.
The album is appropriately summed up by a haunting and poignant monologue by an old lady in an eerie voice, which Kawesa recorded on a detectaphone. It’s a lamentation of the plight of this generation, a desperate cry for the good old days gone by.
Maybe this is all the spirit of Africa is now, a good old thing of yesteryear. If that spirit is but a dream, then Kawesa’s Spirit Of Afrika serves not to guide us to what should be, but shows us that which once was and can never be again.
Kawesa is one of the most dynamic and foresighted young artists I have come across; one who successfully integrates artistic creativity with a deep-seated inspirational philosophy. He has no qualm preaching about his beliefs to anyone who cares to listen.
That aside, Kawesa, unlike his contemporaries, is a much deeper artist. His artistry is inspired by deep appreciation of his cultural heritage and an obligation to better the world around him.
It is a rare motivation in an age where contemporary Ugandan music by young artistes is a fast moneymaking machine, and many are falling over themselves to cash in on the next ‘big’ single. Kawesa’s music seeks not the instant-but-fleeting appreciation. It is not motivated by the urgency to make a quick buck for survival.
In a generation where the most lucrative and a la mode musical themes revolve around ‘detoothing’, adulation of lovers and how best to survive on Kampala’s streets, Kawesa surprisingly intones about the spirit of Africa, taking pride in our cultural heritage.
Yet he deserves credit for not alienating his audience regardless of the themes he choses. His sound is steeped in traditional African rhythm with many traditional musical instruments like entogoli (tube fiddle) and the thumb pianos clearly audible in the background.
For all the authentic African tribal chants and harmony, he still manages to retain a tasteful contemporary flavour, enough for youth to crave his music. He cleverly blends western rhythm and blues (R&B) elements with ethnic melodies.
Kawesa’s first album, Yelele was released in 1998 on Kelele Records, a German-based record label dealing in African music. It took him two years to put Yelele together and has taken him since then to put his latest Spirit Of Afrika together.
The 14-track album sounds more like a compilation of Kawesa’s radio hits since his last album. Besides the familiarity from radio, Kawesa has performed these songs on several occasions. That some of these songs date as far back as 2000, is most certainly a drawback to Spirit Of Afrika.
To those familiar to them, they are nothing but recycled material. The feeling that you are exploring new material is greatly watered down. But that also works in favour of the album, especially for recent releases like Yadungu.
The title track was meticulously put together by Andrew Vee and Kawesa Africa himself. The same pair wrote it in RadioActive Studios, Bugolobi.
The song is a light blend of mainstream western pop and African elements, which are mainly embodied in the harmonies. Kawesa’s vocal gaiety is one point of interest: “This message in the song is that the spirit of Africa is a sense of self worth and value,†Kawesa says.
In comparison, Omuluyanja, which employs entogoli and is sung in Luganda, is more stimulating and satisfactorily for lovers of African music. The sound is raw and unapologetically African.The lesson: “The things we derive the most pleasure from could be our very own destruction. Look at sex and AIDS,†Kawesa says.
More stirring but disarmed to an extent by the fact that it is initially in English is a Soldier Boy. The song is a retrospective look at the life of a kadogo (child soldier) who laments how his childhood is stolen from him and how he is forced to commit atrocities, which end up destroying him in the process.
Kawesa’s creativity is stretched remarkably on Yadungu. He draws from the rich culture of the Chagga people of Mount Kilimanjaro. Inspired by a Chagga folk tale, the song metaphorically uses rats to symbolise social vices.
Spend Time In Africa, Miss Uganda, and the dance track Spend Time In Africa are all feel-good songs that celebrate Africa. Patroitic, yes, but not too message-laden for light-hearted enjoyment. All the songs found favour with radio listeners.
The album is appropriately summed up by a haunting and poignant monologue by an old lady in an eerie voice, which Kawesa recorded on a detectaphone. It’s a lamentation of the plight of this generation, a desperate cry for the good old days gone by.
Maybe this is all the spirit of Africa is now, a good old thing of yesteryear. If that spirit is but a dream, then Kawesa’s Spirit Of Afrika serves not to guide us to what should be, but shows us that which once was and can never be again.