THE POTTER ENTERS THE PALACE
SITI BINTI SAAD
The Taarab Queen
Nasra Mohamed Hilal
1|Siti binti Saad
2|Siti binti Saad
THE POTTER ENTERS THE PALACE
3|Siti binti Saad
SITI BINTI SAAD
Siti, the respected
By aristocrats
Siti, the affable
To the ignorant
Siti, the famous
All around
4|Siti binti Saad
5|Siti binti Saad
THE POTTER ENTERS THE PALACE
SITI BINTI SAAD
The Taarab Queen
Nasra Mohamed Hilal
Mkuki na Nyota Publishers Ltd
S. L. P. 4246
Dar es Salaam
Tanzania
6|Siti binti Saad
Published by:
Mkuki na Nyota Publishers Ltd
S.L.P. 4246
Dar es Salaam
Tanzania
Email:
[email protected]
[email protected]
Website: www.mkukinanyota.com
© Nasra M. Hilal, 2007
ISBN 978-9987-449-46-0
All rights reserved.
7|Siti binti Saad
Contents
Preface
Acknowledgements
Rural Life
Origins of Bi Mtumwa
Married Life
Un-enlightenment of Mtumwa
New Leaf
Fans Dream
Moving to Mtoni
A Day of Reckoning
A Peer Companion
Trial of Victory
Siti and Chanting
Her Songs
Message and Lessons from Siti Binti Saad
How Siti Served Her Country
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9|Siti binti Saad
PREFACE
The world is a highway. All people pass through it and leave; finally they
become forgotten. However, there are those who do not sink into oblivion
because they have left indelible traces or marks which bear witness to their
existence in this world. Such marks are a result of their good deeds
beneficial to the people who succeeded them. Their good deeds are the ones
that make their existence to be remembered.
Majority of those who left those traces are the ones who had been endowed
with special skills by God. There were military generals, such as Mkwawa,
who through using their endowments they could bring victory, reputation,
integrity and fame to their nations.
We must also remember that there passed various religious martyrs who
fought for and established ideologies of their religions to the extent of
bringing integrity to their religious beliefs. They are many and in various
ways they cannot be forgotten.
There have been authors of books, tales, novels, poems and epics whose
works are taken as examples even in our present times. Such authors are
like Shakespeare, Shaaban Robert, Rashid Mauly and others like Msellem
bin Amran, who reached the extent of accusing poverty to God when he
said:
Poverty is a weighty thing,
That God created.
Adult becomes a child,
Brave becomes imbecile.
His suggestions are hallucinations,
Not considered in discussions.
There were renowned singers in the world; such as Ummu Kulthum of
Egypt, Bob Marley, and Siti binti Saad of Zanzibar. All those when
mentioned we, as their living fellows, become thrilled; we get comfort and
our hearts become amazed.
Their endowments, in addition to entertaining us, they also remind us that
life of a person, after he or she is deceased, remains as a tale to be narrated.
10 | S i t i b i n t i S a a d
In that regard, it is imperative for each of us to do his or her best to achieve
good deeds that will satisfy his or her Creator and be beneficial to
humankind, in order that when he or she is deceased there remain good
narratives about him or her to those who would be told.
Finally, we should ask ourselves how these narratives are obtained.
Undoubtedly they are obtained in books written by authors. There are or
there were our fellows who kept aside laziness and were in the forefront in
collecting those narratives, compiling them, and thus reaching our
attention.
For that matter, the author of this book deserves our sincere
congratulations; because if she had remained folding her hands as we had
done, this narrative of Siti binti Saad would not have been known. But from
now on, the life and all good deeds of this ‘Star’ have been known. Hence,
Bibi Nasra Binti Moh’d Hilal accept congratulation from the people of the
Zanzibar Islands; were it not for your work, we would have remained
oblivious of this ‘Star’. Siti binti Saad is ‘light’ that illuminates our vision,
our ingenuity and our capability in propagating our culture. I believe that
the author of this book has taken into account the advice of the elders that
says:
“What is put into writing remains for ever;
What is crammed vanishes swiftly”.
Sgd. Ali Hassan Mwinyi.
14/4/2006
11 | S i t i b i n t i S a a d
ACKNOWLEDGEMENTS
After hearing various artists who saw her, listening and imitating Siti for her
singing, and the ideas announced in public by His Excellency, the Second
Phase President of the United Republic of Tanzania, Mzee Ali Hassan
Mwinyi, when he said, “Investigate about the songs of Mama Siti and revive
them with her style of singing”, I yearned to know more about this famous
Lady. For that, I acquired and read the book by late Shaaban Robert that he
wrote on the biography of Bi Siti. That book aroused my enthusiasm more
and increased my eagerness to know who Siti was.
All that made me sleepless and without hesitating I began digging deep,
searching for Siti, wanting to know who she was, what the reality of her
deeds was, and why Siti. I penetrated every open nook and crook and dig
up.
Well, verily I could satisfy myself that this woman was an amazing person;
just as Mr. Issa Barwani had told me. He was among the people who guided
me a lot in following up and researching about Siti.
Mr. Issa, to a great extent disambiguated the many riddles that surrounded
this Lady, to the extent of taking me to the room in which Mama Siti was
taught Qur-an. She was taught Qur-an so as to adapt her pronunciation to
Arabic sounds leading her to pronounce them with great eloquence. That
was one secret that took this Lady very far. Mr. Issa showed me a building
at Vuga Street in Zanzibar Town which, at that time, served as a club of Bi
Siti.
Another person who I am obliged to acknowledge his assistance is Mr. Iddi
Abdulla Farhan, a renowned musician, especially in taarab music, and who
originated from a family of painting artists. He showed and explained to me
various things; especially when he explained to me what Mama Sit did at the
town palace when she went there to amuse members of Queen Maatuka
binti Ali bin Hamoud assembly. Mr. Idd Farhan informed me that he grew in
that palace and Mama Siti was familiar to him and he knew her very well, as
he remembered very well when he received Bi Siti at Kibweni palace while
assisting one of her musicians who was blind after previously suffering from
smallpox and losing his vision.
I am also bound to thank the family of Bi Siti by giving me full cooperation.
They were at all times ready to cooperate with me by providing me
information, explanation and guidance; especially Bi Muharami binti Saad
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and Bi Baya binti Saad. There are many others; however her neighbor Bi
Chausiku cannot be left behind. Bi Chausiku was a good and a close
neighbor of Bi Siti, and she provided me with many narratives pertaining to
the life of this Lady.
His Excellency, the Second Phase President of the United Republic of
Tanzania, Mzee Ali Hassan Mwinyi, who by then was President of Tanzania,
helped me a lot in explaining to me and contrasting the singing style of
Mama Siti and that of other singers. He translated for me some of the words
found in the songs presented in this book. He even reached a point of
singing some of them for me.
I thank God for enabling me during my research to meet all those people
who were alive at that time and from whom I benefited through their
consultations and discussions that enabled me to write this book.
I will be highly disrespectful if I do not pay official tribute to the late
Shaaban Robert, a renowned author and poet, who took pain to write a book
on the biography of Bi Siti entitled Wasifu wa Siti binti Saad. Although he
confessed that he had not covered much about her as he did not get
opportunity of seeking clarification on issues that baffled him; issues that
vexed his mind and on which he knew nobody who could bail him out and
quench his thirst.
However, to a certain extent, the late Shaaban Robert took responsibility
and fulfilled his obligation. All artists of whatever genre are obliged to thank
and congratulate him. Without him taking his pen endowed with prudence
and sagacity, and writing that biography that has been a spark on petrol
bomb, the zeal of researching on Bi Siti would never have been rekindled. He
startled us, making us run away, and still we are trying to our level best to
follow his steps. I, on behalf of my readers, sincerely convey my gratitude to
the late Shaaban Robert, who had been an authority in this field.
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RURAL LIFE
Any tale, be it real or fictitious begins with “Once upon a time, there was
this or that …. That introduction bears witness to the fact that one cannot
narrate something that had never occurred. If it was kingdom, then it had
already passed in its era; if it was a palace, then only its ruins are left; if it
was a tree, it only remains in the lips of the narrators. That is a universal
fact; it occurs to everyone, virtuous or wicked. Past events remain as
narratives told by those who experienced them.
It is true that these stories are told by those who bore witness to those
events. Having memories and images, in their heads, of their past lives, they
then recount them in the way and manner that befits them. Of course
everyone portrays the image of his or her perception, in which he believed
and comprehended. It is normal for a person to recount his experiences by
recalling some people who had been living in a certain era. As such those
who hear such recollection become enthusiastic, wanting to know more
about those people. Then it happens to those who have been moved by such
events to delve into searching for their truth. They want to know when they
did occur, where, how and what the consequences were. In this way the
narratives of the past, and the records of those who were living by then, are
preserved and become known by the succeeding generations.
However, after a long time, these events remain just as oral traditions.
Reality and imagination blend to construct one whole. That is why it is said
“one story has seven endings”. To be able to discern the authenticity of such
tales, which are complete and which can be accepted, historians conduct indepth research using stringent criteria. They analyze and synthesize oral
traditions to get something comprehensible. Biographies, unlike novels,
depend on how a researcher or a narrator had gathered information related
to recounted events or incidents according to his or her mental acuteness
and experience. After passage of time, truth fades away, gets lost and
sometimes it even vanishes.
Attractive and thrilling biographies of many people, sometimes full of
wisdom, have disappeared due to lack of being documented and proper
preservation. Hence they have never been read nor have they been
recognized; especially those related to women. Stories which are scandalous
or related to brutality regarding women are the ones given prominence;
those relating to women gallantry, or their economic power, or their
compassion, or their determination, even if they excelled glory through their
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industriousness, are never mentioned or their endeavors narrated. Such
women are left to sink into oblivion as if they never existed.
A story built on the life full of excitement that had never happened before
which can serve as a model to others, relates to a woman who has never
been given full attention considering her courage that surpassed serious
impediments; the woman who struggled hard to break chains of women
humiliation; the woman who strengthened our language of Kiswahili,
inculcating the society with morals, denouncing bribery and embezzlement
of public funds; and much more. She is the first woman in East Africa to be
heard through her melodious songs whose reputation is high even at our
times. That woman is no other than Bi Mtumwa; a woman who lived by two
names through two periods of her life.
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ORIGINS OF BI MTUMWA
Bi Mtumwa was born at Kidutani in Fumba, a village situated some few
miles south of Zanzibar Town. Since time immemorial to this day, Fumba
commands high reputation for its high quality flawless pottery produced by
skillful women. However, they were also famous in peasantry, animal
husbandry, hair plaiting, weaving, embroidery and were experts in twisting
fronds. All in all, they were experts in various traditional arts.
Sometime in the nineteenth century, there was an elderly man in Fumba
village community called Mr. Saad bin Mussa. He was of Nyamwezi tribe,
and his wife, of Zigua tribe was called Bi Mrashi. These parents were lucky
to bear three girls; namely Mharami, Mtumwa and Baya. That was Mr.
Saad’s family.
Pottery is an art that requires special type of expertise and capability; from
digging the clay, kneading it, to the work of baking the pots that calls for
great attention; especially when taking them out of kiln so as not to get
cracks or any other defects. Due to long term experience needed in order to
master this skill, girls began to learn and become initiated by their parents
from their early childhood. The importance of imparting this auspicious
indigenous heritage, which is imparted from generation to generation, made
children to be given stage by stage induction training.
Without doubt, Mharami, Mtumwa and Baya also got that indigenous
training. However, Mtumwa from early stages seemed to get difficulty in
coping with this work. However hard she tried, this work appeared to be
beyond her ken. This being the case, Mtumwa’s role was to bring clay from
the quarries, to draw water for kneading the clay and participating in baking
the pots. What seemed simple to her were works such as peasantry, hair
plaiting, weaving mats, weaving caps and domestic chores. The issue of
learning how to read and write at that time was not recognized by urban
generations, let alone in the villages; especially for the girl child. By then
traditional ethics wanted the girl child to be initiated in good manners and
high respect to her elders. A girl child lay in wait for a fiancé whom she
would be to his service, helping him in income generating works in his
household and, most important, to bear children and raise them for him.
In that regard, every parent, especially those who had daughters, were keen
at counting years. They yarned for God’s blessings to come quickly, so that
their daughter could be proposed for marriage and be taken from her
coconut grater, accompanying her husband. That opportunity turned out to
16 | S i t i b i n t i S a a d
be a coincidence in Mr. Saad homestead immediately after Mtumwa came to
age. A fiancé was ready, waiting to be given his spouse. This enabled the
parents of these children to breathe out, seeing that all their children were
with their husbands.
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MARRIAGE LIFE
Mtumwa was second daughter of Mr. Saad. She was born in 1870, a year in
which His Highness Sultan Barghash bin Said established a taarab music
troop in Zanzibar town that was seated in Beit el Ajaib Palace. The whole
town was full of zealots who liked the taarab music and songs. That
coincidence signaled good news that at the time could not be discerned. It
was a riddle that could not be deciphered by human vision and perception.
At Fumba, Bi Mtumwa, after coming to age and get married, did not take
long before conceiving. He gave birth to a baby girl, named Mryam binti
Rajab who, during her childhood, went by the name of Kijakazi. It is a
common belief among the indigenous population that a baby girl first born
is a blessing to her parents; hence there was joy to the father, mother,
grandmothers and all grandfathers. Mtumwa raised her child pursuant to
all village customs. This situation barred her from helping her husband in
income generating activities for their family. This led to misunderstanding
between the two.
Mr. Rajab finally came to conclusion that this woman was of no benefit to
him. He developed a habit of leaving their home early in the morning only to
return at night; and sometimes when he came back he had already had his
dinner. He was least concerned of the condition of his wife and their child,
while he was well aware that she had a breast-fed baby. In case Mtumwa,
when her husband returned, dared to ask the reason that made her
husband to return home late, she would get a disheartening remark: “What
kind of a woman are you? Go out and learn from your womenfolk how to
control and manage your home. You! You are all the time with your child!
Give chance to your fellow women who outwit you to dominate!” Distress
emanating from harsh words, lack of food, care and expenditure debilitated
Mtumwa, more so for her child. The situation deteriorated more as days
passed.
One morning, after preparing breakfast for her husband, as it was her
routine, and after cleaning the house, Mtumwa was at the back yard
washing her child so that she could then have breakfast and continue with
her house chores. Suddenly she was startled by Mr. Rajab who appeared at
the back and ordered her to leave and go back to her parents with her child.
Mtumwa was dumb-founded; she packed her things, carrying her child on
the back, and went without having breakfast. The sun was just rising, he
entered their village and saw women kneading clay ready for making pots.
18 | S i t i b i n t i S a a d
Mtumwa was received by her aunt who was caught in surprise, seeing her
daughter in such grief and melancholy. Due to distress that overshadowed
her heart, Mtumwa’s tolerance had reached its limit; she broke out wailing
from wrath and bitterness to the extent that her whole body trembled and
her head was throbbing with pain. At last, he recounted the whole story to
her aunt. Having finished, her aunt hushed her politely and gave her some
counselling. He advised her to be patient, relaxing there with her child for
some time up to the time when her parents followed up the matter and
decide on it.
Days went by, and the decision reached was that Mtumwa should be
divorced. She remained in the village bewildered not knowing what to do
next. That being the case, she was advised by her aunt to accompany her
fellow women in the village who went to town to hawk pots at the market so
that she could earn some income that could help her acquire basic needs for
herself and her child. Mtumwa received well her aunt’s advice and set to
that work. Very early, at dawn, they headed towards town on foot, carrying
their pots on their heads. The pots were carefully staked in wooden trays.
They were walking four kilometers to town in the morning and four
kilometers in the afternoon returning to their village. Really this work gave
her some comfort as it provided her at least her basic needs.
In their business, there were days when Mtumwa’ pots and those of her
fellows were all sold, wholesale, to those who kept them in their stores for
future sales. However, as it is usual for any business, there are days of
hardships of life when there is practically no business. In such days they
sometimes returned home with their whole loads just as they had carried
them in the morning – they had not sold even a single pot. For those who
the pots were theirs, that was not a big problem, as their wages did not
depend solely on the sales; they could even sell them in neighboring villages.
But for Mtumwa, the case was different. The pots were not hers. She was
only a day worker. In such a case, Mtumwa had a double loss. She lost
income of that day; her wage was her sweat. However, she worked harder
and consoled herself by saying that was the nature of business, profit and
loss – the sun rises and sets; slowly life goes own.
She went on continuously with this work for a long time, to the extent of
being satisfied that she was a pot seller. At least for the time being she had
comfort in her life and somehow she felt some relief. However, despite that,
thought of misery made her yearn for enlightenment of her future life; thus
bringing her a sense of solitude. Veneration and politeness inculcated by her
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parents since her childhood contributed to her being isolated from her
village community; she was all the time alone with her veil, lowering her
head and her eyes all the time, even when she was carrying firewood or a
pitcher full of water from a well. That was a habit that she was proud of and
which was the basis of her personality. Possibly the situation was worsened
by misfortunes that marked her life.
20 | S i t i b i n t i S a a d
MTUMWA IN DARKNESS
As much as Mtumwa wanted to become a potter, her fingers were unable
even to knead the clay and the clay totally denied her. Why she could not
make pots was a question she always asked herself; but she could not get a
satisfying answer. She ended up complaining about her fate, remembering
the common adage which says: “If a son of the blacksmith cannot forge, he
can stalk up the fire”. Deep darkness of adversity that surrounded Mtumwa
destiny jostled her and probably covered the reality of her luck.
That darkness brought her misfortune after misfortune, bad luck after bad
luck. It occurred one early morning, when it was still dark, during heavy
rain season, Mtumwa and her companions, having noticed that skies had
cleared up after the night rain and thunderstorms had abated, began their
usual root to town to sell pots. They followed the same path they always
passed through. But this day, Mtumwa, walking with her natural graceful
steps, the darkness made a fool of her and signaled bad omen and
humiliation to her, when suddenly she slipped and fell down. All the pots
were shattered into pieces.
Oh! Mtumwa stared at remains of the pots which were not hers, and she
could not make even a clay lid for a pot. He could do nothing except to
return home empty handed. Well, everything has its beginning and its
ending; and this incident marked the end of Mtumwa’s career as pots seller.
Her aunt considered this event as bad luck to her daughter, Mtumwa, and
she never became tired of counseling her.
That incident made Mtumwa to contemplate about her child, Kijakazi. She
was apprehensive lest what pestered her should pester her child. Who would
initiate her daughter in this indigenous heritage that was the backbone of
life for all women in their village? It was the duty of every mother to teach
her daughter that profession; he found herself defeated as regards to her
obligation as a mother. Who would teach her daughter? It was that
obligation for which she asked assistance from her aunt. She asked her to
do whatever was possible to initiate her daughter in all skills that related to
pottery, the earliest possible, at least that she could succeed in inheriting
that profession, as Kijakazi was now a prepubescent girl nine years of age.
After that incident, Mtumwa’s life was more difficult and miserable. He had
no option but to indulge herself, body and soul, in all works in which she
was capable. Now, all the time, if she was not cultivating her field, she was
21 | S i t i b i n t i S a a d
herding her cattle; or she was plaiting a mat, or weaving a cap. She felt
without keeping herself busy, she would not be able to manage her life.
During the same period, there were traditional activities related to ancestors’
pots. This was the time to remember the relatives who had passed away.
Special services involving recitation of Koran and religious offerings were in
every corner of the village. It is also the time when the youths who live in
town to come to the village to visit their relatives and to attend to the
recitations, mourning and praying for their deceased parents.
In fulfilling that engagement, there was a middle-aged man who went to see
his relatives’ tombs, but who also had intention of getting a fiancée who
could take her as a wife by the time he would return to town. When he left
the town he had already in mind one young girl whose hand he would ask
for marriage, and who their families were neighbors in the village. Arriving in
the village, he found the wedding ceremony of the intended girl already
taking place and the people had already feasted. One elderly man in the
village, who was a close friend to the young man’s parents, approached him
and advised him to marry Mtumwa binti Saad. He informed him that
Mtumwa had been divorced, and she seemed to have difficulty in coping
with her village life, though she was doubtlessly obedient.
According to village tradition regarding respect, it is common for an adult’s
advice to be given due consideration, and usually it is not turned down. In
that regard, that man, Mr. Khamis, agreed to that advice and asked the
elderly man to go and ask the hand of that woman on his behalf so that he
could marry her and take her back home in town. Mr. Khamis was living in
town because he was a sailor. Therefore he wanted his wife to live in town,
at least when he was away in his travels, his house should not remain
empty, and when he returned he would have a companion, as he was tired
of bachelorhood.
Mtumwa got married and was taken to town. It was without her consent. It
never came to her mind that there would come a day when she would turn
her back to her village life; more so to their village where she was
accustomed to in all respects. She did not like to part with her parents,
sisters, relatives, and most of all her only child. There was nothing attractive
in town for her. Neither the beauty of buildings nor the freshness of air, but
she had no choice. Her fate in life decided that for her. However, she
determined to try her luck once again in marriage life. Hence she
accompanied her husband to town, whole heartedly and with her consent.
22 | S i t i b i n t i S a a d
She thought that possibly there in town her life could be better like her
fellow women.
After bringing her wife in town, Mr. Khamis introduced her to his closest
neighbor, Bi Kijakazi, who firstly she was near his house, and secondly he
thought that this lady would suit his wife as she was very old and lived with
her two grandchildren who were orphans. Mtumwa was permitted to go to
the house of Bi Kidawa only. Mr. Khamis did that purposely, having seen
the town and what perspired in neighbors’ homesteads. Therefore he did not
want to see people in and out of his house, bringing discord, confrontation
and impugning; and generally making his house as if it was a police station.
23 | S i t i b i n t i S a a d
NEW LEAF
Nothing of affluence that a poor woman of her kind would wish for was
lacking for Mtumwa: food, clothes and a multitude of other basic needs. Her
house was all the time filled with sweet scents coming from aloe wood
aromatics and potpourri perfumes, glittering with joy, cheerfulness and
decorations of various tastes. Words of comfort to her husband never missed
and Mr. Khamis was very much contented with his life endowed with good
actions and sound judgment of his spouse. Bi Mtumwa, on her part was
now really feeling being at home. Her feet and hands were tainted with
henna and kohl, just like a bride in a honeymoon. Mascara dots on her
forehead, a jeweled nose pin, plaited or lacquered hair, chains, visumni, hair
rings on the head, rolled paper with spangles in the ears, jasmine and wild
jasmine were among her routine embellishments. In the evening, a mkadi
garland hanged around her neck. Love and affection cemented their
marriage. They lived very happily.
Bi Mtumwa received valuable assistance, in the form of ideas, consolation
and instructions from her neighbor, Bi Kidawa. It is an open truth that a
word of the elder is wisdom. Bi Kidawa nurtured Mtumwa as her own child
and Mtumwa saw herself as a child who was rejoined with her mother who
was separated from her for years.
This condition endured for a whole year when Mr. Khamis was on vacation.
After a time, Mr. Khamis had to bid farewell to his wife and headed for his
sea voyage, where he would probably be away for one or even two years.
Those pleasures of being together with her husband for some time vanished
abruptly, and solitude began to approach Mtumwa stealthily. Separateness
made her feel being a prisoner. Mtumwa had no one to visit or advise her,
except Bi Kidawa or her grandchildren. Quietness of her house began to
haunt her. The day was equally dark as the night; even when she put on the
lights, the night still appeared dark to her. Silence dominated the whole
house, the only sounds heard were those of her breathing and her heart
beating.
This situation made Mtumwa to remember Fumba, her native village, her
parents, her daughter and her village community. The whole village of
Kidutani was now in front of her. Whenever she shut and opened the eyes,
she only saw their homestead. While in the kitchen cooking, or outside
washing, or inside cleaning the house, she began humming her village
tunes. After some days, she felt consoled by her singing, feeling happy as if
24 | S i t i b i n t i S a a d
her kinsfolk were in the surroundings. Now she comforted herself by raising
the voice of her singing. She was not aware that her voice reached outside
her house; however she got enough happiness and amusement. Outside, a
man who was looking for a female Swahili singer, had been hearing her
singing; hooking him and sending him to the door of Mr. Khamis’s house.
He remained outside listening, not to the words, but to the voice. Mtumwa,
without knowing that she had a fan outside, broke out laughter of comfort
after quenching her craving, as if she had a companion inside the house.
When her voice subsided, the fanatic saw himself smiling, his head shaking.
He had nothing to do at that time, except leaving in languishing steps.
However, that young man strongly hoped and kept strong intention to follow
up the voice so as to know to whom they belonged. Was it a human or a
devil singing? Where did she come from? How did she arrive there? And
more important, what does she do inside that house? Days went by and Mr.
Ali bin Said, the admirer of Mtumwa’s voice, hid himself under the eaves of
Mtumwa’s house, listening attentively to recapture that melodious voice. But
just to get the happiness in his heart and to quench the thirst of his ears did
not satisfy his desire; he intended to clear some dazzling from his eyes. His
urge and strong desire pushed him without heeding or hesitating, although
accompanied by fear, to knock the door, of the cage in which his nightingale
was living. The door was opened and the same voice said welcome; but still
the speaker could not yet be seen.
25 | S i t i b i n t i S a a d
FAN’S DREAM
At last the door was wide open and Mr. Ali bin Said found himself trembling;
his voice has become hoarse, and the reason for knocking at one’s door
escaped his mind. He hesitantly started to talk, while clearing his throat and
snorting, as if he has lost his voice, breathing with fear and anxiety. He tried
to open his mouth, raising his heavy tongue, speaking politely: “Good
afternoon, madam.” Bi Mtumwa on her part, with a low tone responded,
“Good afternoon, sir. What can I help you?” Mr. Ali became more puzzled,
not knowing what to say and breathing heavily. “Oh! Excuse me! What I
really came for … I don’t even know where to start; I only find myself
perplexed.” He hesitated for some seconds; then he continued, “It is the
voice! The voice! I am not sure, was it you who was singing? Forgive me, or
…?” Mtumwa interrupted him, but with the same low tone, pleading: “Yes, it
was me. Forgive me if I did a mistake. I will not repeat it; please forgive me.”
Mr. Ali assured her that there was nothing wrong except that he was deeply
impressed by her voice, and wanted to know whether she participated in
singing in any taarab troop. Bi Mtumwa told him she was not involved in
such groups because her husband would not permit her. Mr. Ali left.
His heart was somehow comfortable, sensing that the lady liked singing, but
it was her husband who deprived her of that opportunity. “Well, I shall be
back to her,” he said to himself. That was it. Really he visited her more
frequently. He was always on the road heading to her beloved singer. Bi
Mtumwa began to be acquainted with him, waiting for him specifically for
singing. She believed that her husband would return home, and would
permit her to be involved in music and dance troops.
The practice continued. At first the listener sat outside in the verandah
while the singer remained inside. As days went by, the listener was ushered
in. There was no conversation, there was only practice, exchanging ideas
and singing; nothing else. Mr. Ali found out that Mtumwa could neither read
nor write; but he was surprised to see that what he told her or the verses
that he sang for her, were all memorized by the second day. Mtumwa had
crammed them and could reproduce them by heart. This gave Mr. Ali more
confidence that this lady’s behavior was really a miracle and that the lady
was unique. He decided to inform his colleagues in one of the taarab clubs,
Akhwani Safaa, which had been established since 1905. By then it was only
five or six years old in Zanzibar Town. The town community had already
taken a taste of taarab music into their hearts.
26 | S i t i b i n t i S a a d
By that time, gramophone disks from Cairo, Egypt, had already entered the
town market and people could hear female singers like Najat Saghira and
Umm Kulthum of Egypt. Hearts of taarab fans had great expectations now
and had a dream of getting a Zanzibar female singer who could sing in
Kiswahili. Mr. Ali being among the famous musicians of the time, thought
that getting Bi Mtumwa was like finding a piece of diamond; hence he
decided not to let go that golden opportunity. Whatever happened, this
golden chance should be seized, at least to quench the thirsts of artists in
this field of taarab.
Days passed at a lightning speed. The ship of the sailors anchored at Unguja
harbor. Mr. Khamis’s yearning and dreams of happiness due to expectations
of being received by a warm welcome by his wife increased as time of
disembarking from the ship approached. He had acquired special gifts for
her from far countries. Bi Mtumwa on her part tried hard to prepare herself
for an official reception of her spouse. She felt like a new bride. She
prepared for her husband a room, special foods and a warm reception. And
above all, today she was more buoyant and cheerful than any other day; her
mouth was trickling sweet words like sweetmeat containing almonds.
Special tasty lyrics trickled from her mouth, just like sweet cold water
poured in a glittering glass, special to welcome her husband.
When he arrived home, Mr. Khamis was not surprised to notice the extent to
which her wife had embellished herself and a variety of foods, rejoicing
ululations cruising in his ears. “Surely, whenever a traveler returns, he
becomes a bridegroom at home,” he said to himself.
Unconsciously, sweet words full of love and joy came out of his mouth,
smiling, “Darling, my lovely wife, snow of my heart, you remind me of the
past. I see myself as a bridegroom being welcome by wedding songs. Thank
you very much, Bi Mtumwa.” Bi Mtumwa was neither amazed nor was she
hesitant, instead she responded by cheerfulness, her face beaming. “Oh! My
husband, do not get surprised. Our wedding is whenever you return from a
journey. It is just like a full moon penetrating through a cloud in the sky
and give out light that spreads all over and becomes gratifying. It always
shines in the same intensity, nothing more nothing less. Isn’t it?”
Bi Mtumwa paused for a second; then she gave out a cheerful heartfelt
laughter, saying, “It won’t be otherwise till the day when God, the Powerful,
the Possessor of the earth and the universe, and all that is contained in
them, folds his earth and stops His breath that He has accorded us. To us
27 | S i t i b i n t i S a a d
happiness like this one at a time like this won’t cease to be present in this
house until that day one of us closes the eyes for the last time.” There,
another feat of laughter took Bi Mtumwa. That laughter shook the heart of
Mr. Khamis. That laughter was mixed with trickery and deceit of love in a
manner of sincere love and heartfelt joy; it was like a harmonica in the ears
of her husband. Mr. Khamis cuddled his wife, thanking her for all that she
had told him and did to him. For the time being, Mr. Khamis believed all the
words he had been told by that elderly man in the village about the qualities
of Bi Mtumwa before her wedding.
The night dawned and the day set in. Bi Mtumwa hoped that Mr. Ali would
come to see her husband to know each other and asked permission for her
to continue participating in singing. On the contrary, Mr. Ali had been faced
with a series of misfortunes at that time. First, his mother in law passed
away on the same day that Mr. Khamis returned from his journey; and
second, one of the musicians in his club was getting married in the same
week. In that regard there was a big taarab show.
This loophole gave neighbors an opportunity to use their tongues to break
marriage of Mr. Khamis and Bi Mtumwa. They did not know, and they did
not want to know, the reason why Mr. Ali did not come to visit Bi Mtumwa
after return of her husband as he used to do during his absence. But they
took their own conclusion that he was afraid of the house master. Therefore,
they directly faced Mr. Khamis and informed him all that perspired between
Mr. Ali and Bi Mtumwa while he was away. They told him, “Listen, Sir. You
have married a woman of joint ownership. What made you go to the village
to take a squirrel and bring her to town! Did you think that she would be
ignorant of the town! We sympathize with you! Your co-husband was coming
inside that house of yours”. Others were asking him, “Where is that music
teacher you brought to your wife while you were on a journey? Or the lady
has already graduated?”
These words pierced the heart of Mr. Khamis. However, he decided to have
tolerance and to play it cool. He loved his wife very much. Except there was
a day when he was told, “We did not know that you knelt down to that
singer. Okay, travel and give liberty to them. You are just a basket made of
coconut fronds, a means for carrying a load.” At that point his tolerance
reached its limit. He did not want to hear Mtumwa for anything. All at a
sudden, without caring that he took her from Fumba, he chased her and
ordered her to leave, throwing her belongings outside. “Go out! Cursed
woman! I thought I had a wife, only to know that she was a rodent. And I
28 | S i t i b i n t i S a a d
keep her, biting and comforting me at the same time! Go out! You prostitute!
Go back to your home!”
Mtumwa lamented in her heart; but she could do nothing. She thought
those past misfortunes were creeping again towards her. He did not know
when they would end. Hi picked her belongings and thanked God; for
although he had nowhere to go for refuge, but she could ask for assistance
from Bi Kidawa, her host; at least until dawn. Then she would decide where
to go.
Bi Kidawa received her well and accommodated her in the room of her
grandchildren. She asked her to stay there while pondering what to do next.
Bi Kidawa knew very well that those were just some intrigues from
neighbors. She knew that Mtumwa was not the type of a woman to go
against her husband. In no time at all, Mr. Ali got the news that Bi Mtumwa
had been divorced and she was no more at Mr. Khamis’ house.
29 | S i t i b i n t i S a a d
MOVING TO MTONI
While staying with Bi Kidawa, Mtumwa was still figuring out what had
happened to her. She asked herself, “Is the man who came to lure me into
singing a human being or a devil?” If he is a human being, was he sent to
dig a trench for me and ruin my marriage, or …? Oh!” she could not get the
answer. She thought it wise to remain silent and see where her life boat
loaded with ordeals would take her, climbing and descending the ferocious
waves. Whether it would safely reach the port or it would be wrecked into
pieces was beyond her knowledge. He ended up praying to God to be
compassionate and help her in her problematic life.
He contemplated returning to Fumba where there were her parents, sisters,
kinsmen and the whole community, but she did not know what she would
say to them. In fact she had nothing to tell them. She was eager to know the
whereabouts of that fanatic gentleman, lest she would follow him. Possibly
he could inform her where the singing groups could be found. Probably she
could join them, at least consoling herself from her difficult life. She was
thinking about Bi. Kidawa, that elderly woman; how she had been kind to
her, welcoming her to live in her house. Kindness and sympathy of this
leady was unfathomable. She had no relationship at all with her, except for
her maternity compassion. She thought it was alright to get free boarding
from the lady; but what about lodging and other basic needs? Such thought
haunted Mtumwa all the time. The world looked gloomy to her eyes. She saw
nothing, understood nothing and knew nothing; she neither knew what to
say nor what to do. She was just existing, her heart and body soaring in the
air not knowing where to land.
One afternoon, while helping Bi Kidawa in the kitchen, and at the same time
in deep thinking, they heard a knock on the door. A deep voice was heard
from outside. Bi Kidawa went to attend the call. Opening the door, she was
startled to see Mr. Ali. But without hesitating she let him in and wanted to
know his need. The first request of Mr. Ali was to know where Bi Mtumwa
was; and the second was to see Mr. Khamis and discuss with him on the
possibility of pardoning his ex-wife and rejoin her, as Bi Mtumwa was
faultless. Probably her great mistake was not to wait for her husband to
return and ask his permission before indulging into singing. But even that it
is a mistake that can be explained, discussed and resolved or reconciled.
Furthermore, the mistake was not of Bi Mtumwa alone, because even he did
30 | S i t i b i n t i S a a d
a mistake by entering one’s house without permission of the owner. That
being the case, he thought it was necessary to meet Mr. Khamis and
apologize.
Bi Kidawa discouraged him, because Mr. Khamis was fed with all types of
sinister information about him. He would not be ready to meet Mr. Ali.
Furthermore, Mr. Khamis was in the process of packing his things so that
he could travel to his work the next day. The only option, she advised him,
was only to meet and greet Bi Mtumwa, and talk to her before she decided
whether to go back to Fumba or to remain in town.
Bi Mtumwa thought about her first marriage in their village that was broken
because she was not capable of contributing income for sustaining their
family. She had no power to rectify that situation. Now, her second marriage
is broken because of singing. A principal tool or instrument for that work
was in her possession – her nature – and also some unique treasure was in
her chest. Furthermore, she had a tutor who could train and guide her. She
felt the heavy dark curtain that shielded her and separated her from her
endowment was now raised. There was nothing to prevent her from following
that wide ray of light which beamed in front of her. What remained to her
was to decide whether to take a hot or cold bath. In no way would she go
back to Fumba. What would she do there where she had come from? She
had already had enough torture.
This was a wise decision of its kind. Her nature of trying whatever occurred
to her was a yardstick of her invaluable valor. She was never exhausted nor
was she desperate. She was always hopeful and continued to try her luck.
Although she was ignorant of where she was heading; she thought there it
was better than what she was encountering at present. There is a saying
that, “Wandering through forests and across plains ends in town.”
Following that decision, Bi Mtumwa took her divorce from Mr. Khamis as
her key or permit for entering into a new venture. Her tutor, overjoyed,
advised her learner to move to his farm at Mtoni, believing that there they
could have enough tranquility for practicing. Mr. Ali promised to bring her a
teacher who would make her recite Koran to make her acquire great
eloquence and be able to handle proper pronunciation of words written in
various languages. Mr. Ali was certain that there would come a day when
her trainee would be asked to sing in Arabic, and by then she should
melodize them with great eloquence without uneasiness.
31 | S i t i b i n t i S a a d
Thus, Bi Mtumwa left Mwembetanga and moved to Mtoni with a sole
objective of learning a new subject. A subject, let alone that she had no
knowledge of before then, she had never heard about it when she was in
their village at Fumba.
The basic musical instrument which was used by the teacher in training Bi
Mtumwa to sing was a violin. He used it to signal where to pause, where to
respond and where a singer should enter and begin singing. Mr. Mohamed
Muhsin was an expert in playing violin at that time. His joy of being given
responsibility of training Bi Mtumwa made him to boast that now he had a
beautiful lady with melodious voice compatible with every musical
instrument. He praised the aptitude of his trainee in capturing words and
instructions; she was just like a magnet. Once given a poem, she could
immediately cram it and could turn it in the way she liked, without losing
the intent of the song. She only added a taste to it. Those qualifications and
his explanations around the town raised the yearning of taarab fans. They
were waiting eagerly the day, the hour and the time when they would see the
graduate being introduced and performing on the stage. That day was
waited by everybody just as it is done for a lucky star to appear.
However, with all that, there were those who had their animosity. They were
asking each other: is it true that a country cock can crow in town, or we are
just wasting our time talking about an unknown person, with a
disheartening name? If she is a slave, can she really do something
meaningful? This is incurable insanity! That slave could not even make pots,
the indigenous work in their village which is transferred from generation to
generation; then it is the same one who wants to indulge into work which is
very strange to her! Work that requires pomposity, elegance, special gait and
melodizing of a special kind! Is it true that a rustic woman, who is
accustomed to handle clay soil, bare footed, could come here to sing us
taarab! Those are wonders! Let us see what will be the end result of that
what is being boasted about.
32 | S i t i b i n t i S a a d
A DAY OF RECKONING
At Mtoni, practice and training went on at full speed. Mtumwa was not
eating at her fill and was not sleeping comfortably. He had worries of
training, not knowing the nature of the coming test. Being a novice,
Mtumwa had never before attended public ceremonies let alone singing
taarab. She sat wondering about her fate, asking herself whether she would
be capable of managing this affair, or it would be monkey initiation
ceremony, its tail serving as a girdle. She did not have an answer to her
trial; she could not even guess what would happen. Her head was full of
thoughts and fear. However she worked harder in practicing exercises so as
to ensure success in this life saving venture. “Oh! I will try my luck,” she
encouraged herself.
When her new tutor came to instruct her, he encouraged and motivated her,
so as to trigger her zeal to reach the finishing line successfully. As her
instructor, Mr. Mohamed had no doubt or worries that his student would
cope with the training. He was certain that Bi Mtumwa would succeed, with
flying colors, doing wonders that would stun everybody. Although Mtumwa
was satisfied with such sweet remarks from her instructor, she was still
worried and asked herself whether what she was told was true, or she was
only being auctioned. He ended speaking to herself, “Let’s wait. If what he
says are true and said wholeheartedly, then it is okay. If it is otherwise,
there is nothing but to be patient, as the saying goes, tolerance brings
fortune”. She took hardships as a sure measure of her stance in her life.
When hardships overpower her, she thanks God, and takes everything to be
normal. She believed that one day the ‘slave’ shall liberate herself to be a
human being among humans. Solitude, dejection and stress shall disappear
when that day arrives.
The day that was waited for eagerly arrived. People from all corners filled the
ground, waiting to be or not to be. Today is the very day! The final test had
arrived and there was no need of waiting more. Pressure lamps were lit and
were pressurized until the whole ground appeared to be in the day light. The
audience was great, and sweet melodious instrumental music began.
Suddenly a woman of average stature, veiled in purdah, totally covering her
body, appeared, guided by her instructor up to the front of the musicians.
The music intensified and after a few minutes paused to allow the singer to
intervene. The audience was eager to hear the voice of the singer. The voice
whose qualities were heard all round for a long time. They thought now their
ears would be stirred.
33 | S i t i b i n t i S a a d
Mtumwa had never before seen such a crowd of people gathering in one
place like that. She took a deep breath and tried to open her mouth to sing.
But nothing came out of the mouth! She swallowed the saliva, breathing
again, trying for the second time. Nothing! The voice could not come out at
all. She cleared her throat and tried for the third time. Oh! Now it came out
as if it was from a bamboo whistle; or like a broken glass. She tried to take
more grip on herself, but what came out was only a hoarse voice, as if she
was strangled and feared to shout.
The whole ground was filled with laughter and the audience jeered at her.
Some raised their voices, shouting and throwing discrediting and vilifying
words to her; this situation made Mtumwa feel very much ashamed, and at
that instant she ran and went inside, crying loudly. Reaching inside the
room, she locked herself inside and cried louder, sobbing. Her instructor
followed her, but she was too fast; she saw her already locked in. Mr.
Mohamed knocked on the door, beseeching her to open the door; but
Mtumwa was adamant to do so. The outside shouting aggravated her anger.
She wished she could break into two and be the end of it all, but that was
beyond her power.
After the pandemonium had calmed, Mr. Mohamed continued to plead to
her to open the door. Only then Mtumwa agreed to open the door, letting
him to enter. Mr. Mohamed saw her face swollen, unable even to open the
eyes. With a very low, polite voice, Mr. Mohamed began to counsel her. She
made her understand that that shame was not hers alone, but it was for
both of them. He explained to her that crying would not wipe out that
disgrace; but they should come to agreement that together they should
brighten this day by wearing a crown of victory. To err is human and it is
not the end of life, nor does it destroy success; but it is a yardstick for
attaining a satisfactory victory.
Mr. Mohamed wanted her to consider that day as the day of beginning; and
in fact it would be an important day of reckoning in their success in life in
the field of taarab music. He continued to counsel Mtumwa, explaining to
her that this fire would die out, its ashes would be cold, and that is when a
beam of light of her life as a singer would rise. It is from heat that an
ironsmith dissolves steel to mold an implement of his liking. Mr. Mohamed
concluded his counselling by saying, “This is not the end, but it is the
beginning! Let’s continue with new and more vigor, so that from the heat of
being defeated we should succeed.” Then he asked Mtumwa to rest and
34 | S i t i b i n t i S a a d
relax, think and then ask herself, out of the two options: to turn back and
flee or to go ahead with a high speed, which of the two was beneficial.
After that, Mtumwa remained alone inside, recalling the words of her tutor
until when the sleep took her, relieving her of deep thoughts and throwing
her on the bed. The following morning, after having breakfast, Mtumwa
decided to go out to get fresh air. Suddenly neighbors appeared showing
each other and pointing their fingers to her, winking and laughing. There,
Mtumwa remembered the question posed by Mr. Mohamed, “To flee or to go
ahead, what was important?” she decided that to flee everyday would bring
her jeers and disgrace; and in that case she would always be a refugee in
her own country and that was not her intention. She decided to fasten her
belt and to pull up her socks and march ahead. She was sure that one day
she would reach the lighted end of the dark tunnel, however long the tunnel
would be. What was important was being alive. She would be late, but she
would reach the end of the road. She knew that continuous effort and
diligence bears fruits of success to all aspirations of one’s dreams.
35 | S i t i b i n t i S a a d
A PEER COMPANION
Mtumwa and her tutor resolved to start afresh. She had to resume
practicing. Practice that had as intention to bring exemplary success; a
matter of life and death, to be or not to be, for one objective only, and that is
to win. The tutor decided to search for assistants who were experts in music
who were ready to practice relentlessly. If it was decided to practice
overnight, then it should be so, until dawn. Otherwise, if it was decided to
practice for the whole day, then it should be done, without resting. Mtumwa
on her part was now thinking nothing except music and song lyrics. She
tried her level best to forget all that happened to her in past years of her life.
She purposely put herself in combat, fighting for her survival. She decided
resolutely with firm determination that she must conquer this city, making
her name Mtumwa, daughter of Saad, who migrated from village to town,
subdue the urban dwellers and scoop up the whole town. By that she could
break the fort of words that “A village cock does not crow in town.” Her belief
was that a cock was a cock; no matter where it is, it can crow. It has no
boundaries. Hence, Mtumwa is a human being just as any other human
being; no matter where she is she can succeed, only if she uses her effort,
her endowment and the grace from her God. She is Mtumwa and she is the
one who is going to liberate women from humiliation, scorn and molestation
as if they were beasts only, and they were not humans just like others.
Despite the fact that she was courageous and the past trials she faced made
her brave, in conduct she was still the same Mtumwa from Fumba. She
never left her traditional shawl won with a veil as inculcated by her mother.
She neither dodged her stooping behavior nor shying away from it, but she
preserved it forever. Mtumwa’s confidence and her determination, increased
day by day, making her practice relentlessly.
One day, Bi Mtumwa was anxious of singing, just as she did when she was
alone at home while her husband Mr. Khamis was away. Fortunately this
coincided with the day when the musicians were on rest. Pushed by that
anxiety, she entered the lounge, where practice was usually done, looking
for a musical instrument she could play while singing. Just on entering the
lounge, her eyes were caught by a tumbrel. She was very eager to try it. Due
to her enthusiasm, she took it and started singing alone, taping it,
sometimes on its skin, sometimes on its jingling metal disks, according to
her song. She was overjoyed.
36 | S i t i b i n t i S a a d
Next day, when her musicians arrived for practice, Mtumwa asked to be
given a tumbrel during practicing. All of them thought that she was just
joking; but they gave her and began practicing. When she started playing it,
her companions were all amazed regarding the way she was following other
instruments with her tumbrel, with no fear and without faltering. Her
instructor congratulated her very much for her new aptitude. From that day,
Bi Mtumwa was always with her tumbrel during practice and even during
taarab show.
When Mr. Mohamed was satisfied that now she had had enough practice, he
announced that time had come for another trial. This time the show was
arranged to begin in the afternoon. People responded to the invitation; but
this time they were skeptical and they were fully prepared. They resolved
that if it happens that and this time this woman fails to sing, they would
stone her or even whip her, and make her return to their village of Fumba to
mold pots or to cultivate. And her tutor would know what to do. They should
not always be hoodwinked, be bothered and wasting people’s time for
nothing through promises of false qualities.
The day arrived and the hour had come. Musical instruments had already
been tuned, and the music began. They saw the same woman appearing
from inside, in the same dressing as that of the other day; however today
she was holding a small musical instrument which she was taping it
continuously following the beats of the song. The instrument was no other
but the tumbrel. The instrumental music was now reaching its peak,
slackening to give Bi Mtumwa opportunity to take her role; the time for the
singer to take her turn has arrived.
Unbelievable! Bi Mtumwa gracefully gave out her voice with embellishments
(stretching her voice in tandem with a certain song without evincing its
words) that she exhorted in its kind and vigor using all her breath. She sang
with pomposity raising her voice to the highest pitch, spreading it until it
filled the air in the whole area. With grace of its kind, she stirred the hearts
of all the people present at the show on that day. She pulled even those who
were very far to approach, following her song up to the point of stopping.
She made the invitees at the show to remain still put as if called water had
been poured on their bodies.
She had not yet begun the real singing. That was only an introduction. The
interest overpowered the audience, yearning to hear how the song would
begin. As it was her habit, Mtumwa paused for some seconds before starting
37 | S i t i b i n t i S a a d
singing. Lo! All the people were mesmerized, totally perplexed! They
remained silent, slowly swaying from right to left. There stones
unconsciously fell to the ground while their sticks knocking the ground
following the tunes of musical instruments. Those who stayed away fearing
chaos, started to approach slowly as if they were called. Mtumwa’s voice was
like a magnet. Many could not believe their ears or to accept their eyes. Was
that the same woman they had seen in the first show that they threw stones
on her and jeered her. Now they believed the authenticity of words and
qualities that Mr. Mohamed had been giving to Bi Mtumwa. Wow! Wow!
That’s it! That’s it! The whole ground echoed with congratulations and
happiness when Mtumwa finished her first song, turning to go in for a short
rest. This day she was escorted with ovations and ululations that spread all
over the arena. Requests of “Once more! Once more!” escorted her until
inside. No body left his or her seat, hoping that what was to come was more
palatable.
When the second song began, and when the audience noticed that it was Bi
Mtumwa who reappeared, things were beyond explanation. People began
cheering to the extent of forgetting themselves. Today was today. The
captain is at the helm. This was her lucky day. Bi Mtumwa sang
continuously until past midnight. Every song that was sung had to be
repeated and repeated following the audience request. People totally forgot
themselves; they were unaware and they had no feeling that the night had
gone very far and hours had passed. From that day, Bi Mtumwa sang every
week in that ground. As days passed, the audience increased tremendously.
They invited each other and there was none who parted before the end of the
show.
38 | S i t i b i n t i S a a d
TRIAL OF VICTORY
Of course, a shining lucky star began to rise in Mtumwa’s dark night. That
night, Mtumwa and her instructor left the ground highly hopeful and full of
joy. The fatigue of intensive exercising that they were doing for a long time
disappeared just like thirst that was removed by soothing ice cold water.
That was the night that brought success to Bi Mtumwa. Verily, it was an
unforgettable night; because it was the night that revolutionized the taarab
music in Unguja. No one in their troop felt the night passing. It was just like
the wedding night of their first born daughter. They congratulated each
other with joy, laughing while teasing each other. They suddenly realized
that it was already dawn.
The next morning, after having a heavy breakfast like they did on Idd el Fitr,
Mtumwa and her co-musicians discussed and pondered about the state of
affairs and its consequence. They wondered whether where they reached
was to their satisfaction. What was the real purpose of all that they did?
Was it just to promote Bi Mtumwa and her melodious voice, or was it to get
a female singer? The objective that each of them was aware of was to get a
female singer. Now they had already obtained the singer who had no defect
and who had no obstruction that could hamper her from attaining her goal
of being a singer. What remained was to set on a journey with the same
objective of amusing and quenching the thirst of taarab fans in the whole
town. They wanted to spread Bi Mtumwa’s qualities all over the country;
reputation that could be kept on permanent record forever in taarab field:
not only in Zanzibar or in East Africa but in the whole world; to every place
where the rays of taarab music could reach.
In that consideration and in all that decision, they resolved, from the
beginning that that would not be something temporary carried by water
current who’s ending was not known. But it should be developed and
skillfully promoted, by all means without losing its value, for all their life.
That resolution was now their vision, leading to the start of one exercise
after another, a song after another, up to the time when the instructor felt
the time had come for Bi Mtumwa to go to town for a show. There, her
instructor introduced her to their club of Akhwani Safaa. Now, Bi Mtumwa
started to perform in receptions conducted by that group. But she did that
for a short period. Although a female singer was in great need at that time,
jealous played its role, especially because this was a woman, from a very low
class at that time.
39 | S i t i b i n t i S a a d
However, due to spreading of her reputation, the society itself, gradually,
began to promote her everywhere by speaking about her high quality
singing. Some even said she sang like a lute, and others added that her
voice was enough to calm someone just like any musical instrument.
Attraction of Bi Mtumwa’s singing divided the society into two divergent
viewpoints. To the fans, admirers, devotees, and majority of listeners,
although there was some discouraging inquisitiveness here and there to
them, her voice had no opponent and her singing was of very high quality.
The second viewpoint was that of other singers who acted as her
competitors. To them, on their part, there was something else: her
endowment that could not be estimated at all, and her amazing
understanding and swiftness in cramming poems that no one could explain.
Mr. Issa Barwani, who had seen Mtumwa being instructed in their house,
emphasized that, “Her understanding and her aptitude in cramming was
exemplary.”
But where there are good people, the bad ones are also there. Where there
are fans, foes can’t be lacking. More so, if good reputation is accorded to a
person of lower caliber, majority of the people hate that. There are those who
were mean to her, others were jealousy, and others who were envious and
had resentment for no justifiable reason. However, all those had their
pretexts and their goals. Probably they yearned to be in her position, but
one can’t rely on another’s luck. The adage goes, “He who has been given
something, it cannot be snatched from him.” He who has been given has
been given; you cannot take away what he possesses from him. Also we
should not forget that if God, the Creator of the world and the universe,
brought to us Messengers to testify to us His existence; and yet we humans
discredited those Messengers, ridiculed them and put them in all types of
persecution and defamed them; how can it be that humans can’t discredit
this woman!
Therefore it was not difficult at all for them to do anything to her. They were
saying mockingly, “Hah! The singer covers her face with a veil because she is
very ugly. All her face if deformed due to baking pottery.” Others said, “The
singer herself is a dwarf, Lilliputian like a mortar, and in addition to that
she covers herself totally. Hah! Is that not an evil spirit!” Moreover, there
were others who even dared to remark, “She is just a prostitute! Nothing
mad her come to town except selling herself to men. That is why she
disguises herself as a singer. She can do nothing! This woman is a swindler
and a rogue, snatching women of their husbands. Firstly she is lazy; and
40 | S i t i b i n t i S a a d
that is why she was expelled from her family. Is it believable that in the
whole town there is no woman with sweet voice except her! Really she is a
prostitute per se. She is shameless; she keeps herself in the middle of men.
Her face is totally devoid of shyness; she pretends to cover her face while on
the other side she accomplishes her goal”. Mtumwa was aware of all that
backbiting, but it could in no way make her return from where she came;
even if they were to slander her day and night, without eating or sleeping, it
would be of no avail; because the wave of change in the life of this lady had
such a force that it could not anymore be stopped. Her days had been
counted and now they had been summed up.
There were also who liked her and admired her beautiful voice, the way she
preserved her dignity and her pleasant character, how she cared for others,
and how her face was all the time gleaming with cheerfulness, smiles and
joviality. Her conversation with all those who surrounded her was full of
jokes and sarcasms without harboring resentment or disrespecting anyone.
Mtumwa did not segregate anyone; adults or children, males or females,
strangers or natives, the rich and the poor, were all equal to her. Everybody
who encountered her was never tired of talking with her; because she was
always cheerful and never showed discontent or getting tired of others. She
knew what she wanted from her society and what her society wanted from
her.
This quality was also touched by Mzee Ali Hassan Mwinyi in his description
of Mtumwa’s behaviour. He said Mtumwa knew what people of her
community wanted; therefore her songs were sung in that regard, and in
line with language that fitted the context and proper timing. He gave as
example her children songs, songs for receiving the King, and those that of
dancing style like Yalaiti – a song that pushes a dancing fan to enter the
floor, looking for a partner. He continued explaining that this lady,
throughout her life, did various things to make happy people of all ages and
all walks of life in her society.
Mtumwa was aware that her only asset was her voice; and that was what
people approached her for. Therefore she embellished that voice with
respect, cheerfulness, smiles and joviality. She was never tired of
entertaining her fans admirers whenever they visited her at home. Whether
in sickness or in healthy condition, she never turned down anybody; her
door was always wide open. This habit was one that increased her respect.
Her close neighbor, the late Bi Chausiku, lauded her in saying, “One quality
Mtumwa possessed was that she was never seen frowning or turning her
41 | S i t i b i n t i S a a d
back to someone; but all the time people went to see her at her home
through their self-invitations. No one was ever met with misfortunes or
chased. Every time they were met with love, joy and cheerfulness.” These
qualities are also noted in the book of Shaaban Robert entitled Wasifu wa
Siti, when saying that although she was ailing when he went to see her, she
still accepted to receive him cordially.
Mtumwa was invited by various people to their ceremonies. If they were in
the open air she always covered fully her body; but if they were conducted
inside in the middle of other women, she remained with her veil only, not
covering her face. On top of all that, her close friend who helped her out in
her second trial, that opened her door of prosperity and success, was no
other but her tumbrel. She could not miss or part with it for a second, for
the whole of her life. When her condition thrived and her fame started to
flourish, her fans awarded her the title of Siti or Binti Saad. This name that
represented high respect, was given by her fans and lovers of her songs to
honor and glorify her.
Siti means Honourable Lady or a female singer. She was called Binti Saad in
line with traditional way of respecting any woman. In indigenous traditional
respect, a woman is not called by her first name, particularly in public; but
she is called Binti so and so, meaning the daughter of so and so. As days
went by, the name of Mtumwa subsided and got lost and was replaced with
Siti, to the extent that people forgot that Siti was the same as Mtumwa, the
Daughter of Bi Mrashi and Mr. Saad of Kidutani in Fumba. Those remarks
that Mtumwa could not do anything turned out to be replaced by “Bi Siti is
a famous singer, who is revered in all respects and in all places”. The name
of Mtumwa gave birth to the title of Siti.
42 | S i t i b i n t i S a a d
SITI AND CHANTING
Were Mtumwa to resolve that her village life should remain as it was, and if
she had turned down the opportunity she got of seeing a thin ray of light
beaming when she was with her husband, Mr. Khamis, at Mwembetanga
and returned to their native village of Fumba, surely today we would not
have the name of Siti, the one whom we are talking about now; the name
which we adore and we fervently wish to know about her life. Probably, had
the situation been otherwise, the life of Mtumwa binti Saad would have been
just like that of any other person, a pot maker who molded all types of pots
which were famous commodities in Fumba. But it was her limitless hard
work and her unwavering intention that prepared success and consolation
in her future life.
What we mean to discuss is not her name, be it Siti or Mtumwa, but it is her
courage, ingenuity and her resolute determination that did not accept to be
swayed, agitated or dented. Where Siti came from was Mtumwa, bare footed,
but she never cared about piercing or cutting her feet in her journey towards
her goal until she won. She tried to taste bitterness of all kinds to get the
reality of their flavour; she realised that there was no sweetness without
bitterness. Her nature was to have a vision of the climax of each trial.
At that time, just a few years after the first civilian taarab group had been
established, other groups began to emerge. Among them was Nadi Shuub
which was as strong as Nadi Akhwani Safaa. All groups were attracted by
taarab singing of the time, particularly songs by Egyptian singers. Other
small groups also emerged; which had no names or remarkable status; their
role was to soothe the hearts of fans that majority of them were inferior in
status. Those groups established for the purpose of amusing the commoners
were many, and Siti saw the need of joining such groups, so as to go with
them in so far as she could manage their pace.
This concept is the one that pushed Siti to join a very small group consisting
of only four people: Subeit Ambar, an udi player; Buda Suwedi, a gambusi
player; Mwalimu Shaaban, a timbrel player; and Mbaruku, a violinist. Siti
was the fifth and she joined the group as a singer, although each of them,
on different occasions, was singing. When they were only four, the group
had no big name, and there income accrued through singing was minimal;
just enough for a day’s sustenance. But after Bi Siti had joined them, the
magnetic attraction of her voice attracted many people to go and see them
performing. Their group was now taken to various ceremonies of average
43 | S i t i b i n t i S a a d
status. Their reputation rose and reached very far due to the presence of
this miraculous lady. Other big groups wished to have Siti as their member,
as people were attracted by a lady singer, especially one who had a
melodious voice like hers.
The fame of their group continued to spread out and one day they were
officially invited to go and perform in the king’s palace. That invitation
surprised Siti and her companions, because they never even dreamed that
they were such famous. They asked each other if the invitation was really
theirs or it was mistaken. They were assured by the messenger who brought
the invitation that it was theirs. Immediately they set themselves into
intensifying their practicing as a group, so as to make sure that they would
be ready enough, arriving the day which was unique and special to them.
The day they were invited arrived. Mtumwa and her companions dressed in
tenure befitting the house they were going to perform. Arriving at the king’s
palace, they were warmly welcome, respectfully, and were ushered in a
spacious, neatly laid parlor. On one side there were carpets of very high
quality and on the other there were splendid sofa sets. At a quick glance,
they knew that the sofa sets were for the royal family which would later
come to attend the performance. “Well, today is our day for us to show off in
front of these dignitaries,” the musicians thought. Suddenly, they were
ordered to lay down their musical instruments in one corner because they
would participate in a reception specially prepared for their honor. After
doing that, the table was laid, and various types of food were presented,
some very sweet, some salty and some sugared. Beverages like tea, sherbets
of different tastes and colors were ready. When preparations were complete,
all the royal family entered, sitting according to their ranks. A welcoming
statement was given, asking Siti and her companions to feast as the
reception was specifically arranged for them. But strange enough!
Conditions were given concerning how to feast the banquet. They were
wanted each to snatch the food that one had taken, rubbing that food on the
face, on the head and even on clothes of the other. They should snatch
other’s food from hands and even from mouths, or even picking the food
that had dropped on the table and eat it. This shameful game was to
continue until all the food presented had finished and finally each was to
use another’s body to wipe and clean one’s hands.
In fact, this order annoyed Siti and her companions very much; but they
had no option but to execute it. They had no power of deciding otherwise as
the order came from the king. Then the work started and the royal family on
44 | S i t i b i n t i S a a d
their seats watching and laughing quite contented and soothed. When they
finished eating, the dignitaries left still rejoicing of what they had witnessed.
Siti and her companions were paid some money and were thanked for the
work well done. Then they took their musical instruments and left. There
was no taarab performance on that day!
When they arrived at Siti’s house, currently at Vikokotoni, the musicians
asked themselves many questions, pondering and wondering the purpose of
that incident. The answer that came to their heads and which they all
agreed was correct was that that degrading incident was intended to
humiliate and impugn them, making them know that they were not singers
worth mentioning, and in fact they were nothing of value; but they only
busied themselves in fetching money and food and for that they deserved to
be treated like animals. That action that occurred in king’s palace really
pierced Siti in the heart. She felt humiliated but tolerated and intended to
revenge. She kept her intention in her heart. She had great hope that one
day she would return to the king’s palace, and on that day she would
demonstrate her skill that God had ordained her.
This intention aroused Siti’s spirit in her heart, instigating her zeal to
abolish that misery of being humiliated like animals, and break totally the
bondage of oppression and segregation due to their low status. She was
pushed to perform one exercise after another, one song and then another.
As a result she composed a number of new songs; songs that were liked
more and gained her more fame that spread throughout East Africa,
bringing her unprecedented glory.
Siti bloomed as a beautiful flower did in a well-attended fertilized garden. It
is a fact that a screw pine that bloomed along the beaches of Fumba coast
smelled good, spreading to all other neighborhood coasts. Those perfumes
which never fade, in town they are put in garlands, especially of the bride on
her day of wedding, as a sign of love to her spouse. That is a traditional
belief of Unguja people. Thus, Bi Siti, being a Fumba girl child, carried those
perfumes and spread them throughout the East African coast.
However, heavy sticks and stones continued to be hurled to her from
various corners of the town. Poison of opponents was still there, particularly
among her fellow women. Women dancing groups were singing about him to
enrage her, songs whose aim was to discredit her and make her furious.
This one was very popular among them; it succeeded in changing the truth
about her life.
45 | S i t i b i n t i S a a d
Siti binti Saad,
Since when were you worthwhile?
Coming from the village,
Rapped in two black calico sheets.
Were it not for your voice.
What would you eat?
But in vain! They never managed to spoil the garden or to pollute Siti’s
beautiful flower. Her fans in her group retaliated on her behalf by saying:
Siti is honourable,
And courteous.
Full of shy,
But very famous.
Accept our gift,
Be it humble.
However, she herself wanted to swallow the attacks and leave them to go
with the wind. But they pierced her heart and thus, as her sister, Bi
Muharami binti Saad, told us Siti herself responded by saying:
Siti, the honored,
By aristocrats.
Siti, the courteous,
To the ignorants,
Siti, the famous,
All around.
Verily the truth of that song was seen. She was called at Tanganyika; she
was invited in Kenya, and in Uganda she was tour guided. The thirst of her
songs to be heard increased to rise. When it reached this stage, there were
people who had a vision, recognizing that now Siti was followed from all
46 | S i t i b i n t i S a a d
corners, but not for her appearance or her beauty, nor for her conversation;
but for her voice in her songs. Siti’s songs touched the soul of every person.
There were fans eager to get those songs in gramophone records, just as
those which came from abroad, especially from Egypt. The advice of this
dream of theirs reached one Indian businessman. Seeing the great number
of Siti’s fans and admirers that increased day by day, this businessman
knew from early stages the expansion of the market of Siti’s voice; thus he
decided to use that opportunity to record those songs in gramophone discs,
selling them and getting his personal benefits. Despite that, if it were not
that, we would not have any testimony today of Siti’s voice nor her songs.
Perhaps we would only be able to cite her qualities. That businessman
delighted the fans of those songs; and furthermore he helped a lot in
establishing Bi Siti’s glory.
Thereafter, that businessman looked for Siti for the purpose of discussing
with her and signing a contract which would enable him to do the work. Bi
Siti, as it was her nature, could not argue against anything that would
satisfy her admirers and her fans and that would make them happy. Be it
heavy or light, she was always ready at their service; let alone this venture
that would promote her inside and outside the country! She did not care
about income, but she cared about success and happiness of her people.
Therefore Bi Siti received wholeheartedly the proposal presented to her by
the businessman, without any difficulty. A trip to India was arranged for
her and her companions using dhows that were coming to Zanzibar
following monsoon winds. In 1928, Bi Siti’s entourage of five people arrived
in India and they were in the hands of their hosts, His Master’s Voice
Company, which at the time was the biggest company producing the
gramophone recordings.
This was another milestone in building Siti’s history by making her the first
East African woman to record her songs in gramophone discs. It was not
only that, but another page was opened in her unique history, being now
entitled Al-anisa Siti after returning from India to Zanzibar. Hundreds and
hundreds of people came to receive Bi Siti and her group, as if a delegation
of foreign dignitaries had arrived in the country. Such a surprising thing
had never before occurred for a commoner, let alone a rural woman who was
formerly known as a pot vender. Such a reception had only been accorded to
a king or to an official state visitor to the country. No one could foresee such
an event fifty nine years ago when Mtumwa was born at Kidutani in Fumba.
Even her first instructor, Mr. Ali, who predicted the star of Mtumwa’s voice,
47 | S i t i b i n t i S a a d
when he heard it at Mwembetanga at its prime stage without any
embellishments, could not foresee that it would reach that far. He could not
believe his eyes that a daughter of a pot-maker today was received as if she
were a princess. This was a very rare luck to a person of her status.
When records of her song were out and distributed, Bi Siti fans increased;
because those who previously had heard about Siti’s qualities, were now
able to listen to her songs although she was far out of their sight. Discs of
here songs were heard in restaurants, at home and everywhere. Wherever
one passed, one could hear Siti’s voice. Hence, no celebrations or receptions
of the wealthy people could be conducted without Siti’s presence. Her fame
and her name were more glorified; and those who were jealousy, whenever
they tried to fabricate new intrigues to disgrace her, they found out that she
was shining more. Their conspiracies were of no avail to Siti; on the contrary
she was ever flourishing towards higher status. Just as mangrove flourishes
in mud in salt water, Siti was also flourishing while the people were
watching and assessing her; no tree can thrive in the see water like
mangrove. Moreover the tree produces beautiful flowers and a good scenery
of green leaves over the sea surface. That is God’s creation. No one can
change his miracle. It is evident that peace, perseverance and hard work
surely produces quality fruits.
After a short period since gramophone recordings of her song entered the
country, Siti received another invitation to the king’s palace. This invitation
raised her anxiety, because she was not sure of what was going to happen
this time, she was contemplating lest it should not befall her that she
experienced in the first invitation. Her instructor and her companions
advised her to accept the invitation; she should try again. Although at that
time her instructor was in bed, he persuaded her all the same. He advised
her to go, proudly, without fear or anxiety. He encouraged her by reminding
her that if all would go well, all her opponents would be totally defeated; she
should make sure that her tolerance would defeat all those who aspired to
take revenge on her. He reminded her that trying is the measure of
capability, and capability is the measure of success and victory. Her
instructor reminded her that that day of reckoning at Mtoni, whose results
were not foreseen, was a day when their performance started in sun light,
ending at midnight under the light of pressure lamps. He insisted on her
that that call could bring wonders just like that night which brought
permanent bright light that subdued total darkness. Finally, the instructor
wished her happiness and success, and advised her never to draw back; but
48 | S i t i b i n t i S a a d
she should march forward to the victory. Completing his advice, the
instructor was shading tears of happiness and hope and was anxious to see
that glory.
Siti, pondering on her instructor’s advice, and knowing for sure that her
instructor’s advice was a clear direction and guidance for the work in front
of her, she decided to follow it. She intended to do whatever was in her
capacity to succeed, if she would be given a chance to sing. Therefore she
composed a special song for the occasion. She felt that this was her only
chance; so she should not let it go, instead she should implement her
intention that she had preserved it in her heart. Her special song that day
was Kigalawa. The words of that song contained a hidden message of
wisdom directed to the king:
Outrigger canoe,
Is like any other vessel.
It sways in the sea.
Do not take it off,
Purdah conceals things.
In this song, Siti was saying that Kigalawa was a very small vessel that
travelled in the sea in which there were also very big ships; however, it is
equal to those big liners; they were equally swayed by waves, and their main
work was to enable the people to cross seas, to ferry them and to float on
the sea. She gave that analogy, to show that all of them were human beings;
they were equal to those who were kings or people who were very wealthy.
Their only difference was their capability; but they still remained humans
and there needs were the same and the works they were supposed to
implement in this world were the same. Although the capability on the
responsibility of each person differed, God endowed each person the
capability relating to the responsibility one had.
When Siti says, “Do not take off the purdah as it covers up various affairs”,
she insists on her companions not divulge their secret. It is a secret that has
been concealed, hence it should not be open to others. The purdah is a type
of a veil worn by women, which is sometimes called burgaa in the language
of those who brought it to Zanzibar. They were the Yemenis. Therefore when
Siti said you should not take off the purdah, she was comparing the black
49 | S i t i b i n t i S a a d
color of that veil and the darkness that causes people to see nothing
through it.
In that night, in king’s palace, Siti sang that song showing her painful
feelings regarding the way they were treated on the first day of their
invitation to the palace. The king himself, the queen and her royal family,
together with their fans who were invited, cheered and played joyfully. It was
their first time to show such happiness; therefore in that night various
songs of Siti were sung. Outside the palace, many fans gathered listening to
Al-anisa Siti binti Saad singing. That night, Siti was rewarded gold bracelets
called timbi, which usually are in a pair; they are thick and heavy, decorated
with engravings of a unique style. That first reward was given by Queen
Maatuka, who put them herself on the arms of Siti, on the spot and in
public.
Usually, in king’s palace, it is only the king who has the authority of giving
orders. But on that day, inside the glorious king’s palace, an order was given
that astounded the king himself, his queen, the whole royal family, his
entourage and all invitees, sitting dumbfounded, listening to Siti’s voice.
What is surprising is that the one who gave the order was not the king, but
the voice of Bi Siti binti Saad; melodious voice accompanied by sweet words
of her songs.
However, although Siti’s voice possessed all dignitaries, making that knight
her night of victory, Siti herself, having accomplished the task and returning
home, she still harbored grievances when she remembered that befell her
that day of first invitation to the palace. She still remembered the motive
that pushed her to sing Kigalawa, crying relentlessly due to her resentment.
All in all, that night was really unique, full of joy and thrilling luxuries.
When morning came, sad information awaited Siti. She was informed of the
death of her instructor that occurred when she was performing in the
palace. Her instructor’s illness worsened and ultimately he passed away.
Death of her instructor put Siti in deep grief, particularly because he did not
get the opportunity of recounting the good news pertaining to her second
performance in the king’s palace, which her instructor hoped she would
emerge victorious after sending her off with prayers of success. Sit had
nothing else but to attend his funeral and pray for him good resting place in
heaven. This was a blow that Siti would never forget for the remaining of her
life.
50 | S i t i b i n t i S a a d
HER LYRICS
Siti’s second invitation to the palace was motivated by popularity of
gramophone records of her songs that were being talked about every corner
of the country, and thus increasing her fame. Reaching this stage, her fans
and admirers increased tremendously; now, their enthusiasm of seeing her
was explicit and her qualities reached very far. This was what pushed the
Queen of Zanzibar, Bi Maatuka, who had grown up in taarab music
thorough his father, King Ali bin Hamoud, who promoted that music which
was brought by King Barghash from Egypt, to be eager to listen to the
gramophone records of Siti’s songs. Those songs made the queen forget that
it was her who, when instigated by the opponents and foes of Siti,
humiliated her and her companions badly when she invited them in her
palace for the first time. Siti’s songs made the queen to forget totally that
she did not have patience and did not use prudence to hear what Siti herself
had to say; but she directly followed the words she was told by other people.
However, gramophone records of Siti’s songs sent the message to the Queen
that all that she had heard was due to the intrigues and animosity of
opponents, and that Bi Siti was a real singer who deserved reverence.
Those were the songs that removed Queen Maatuka from hatred instigation
to the level of loving and being eager to see Siti personally and listen to her
singing live. Due to that, she then took steps to invite Siti and her comusicians for the second time, for the purpose of ascertaining if it was really
Siti herself who recorded those songs in gramophone discs. After seeing her
live, and be amazed by her capability, Queen Maatuka took Siti binti Saad
as her close friend. From that day onwards, the Queen did not want to be
away from Siti for any moment. She wanted Siti to go to her town palace
three times a week to entertain them.
That was not happening easily to a person, particularly to a woman like Bi
Siti; but her intention and hard work, guided by the power and capability of
her endowment, shut the mouths of the hypocrites and the mean-hearted.
She totally abolished the belief that only people of a certain class could excel
in things like singing. Siti had determination which could not be easily
diverted; hence, she was ready to fight anyone who obstructed her. It was
not a fight of sticks or fists, but through wisdom and humility she could
attain victory. Even if she was a humble woman, poor and weak, Siti was
courageous. She was not tired of fighting for her rights, slowly but surely,
with certainty which excelled that of her instructors.
51 | S i t i b i n t i S a a d
It was not that she forgot those who introduced her to Akhwan Safaa group.
Not at all! She was not a person of that type. She remembered them well,
particularly people like Mr. Mohamed Muhsin, Mr. Ajmi and others who held
her hands when she was a toddler, tottering her feet until she fully
understood all the secrets of the music field, like moving with elegant and
graceful gait. But there were some of her instructors, when they saw her
climbing the ladder, they were filled with envy, wondering how comes a
woman should surpass them and occupy their place in the hearts
community members. How comes that they should remain behind her.
Behind a woman, moreover a rural woman! That was impossible. Hence,
they plotted to discredit and defame her, instigating the public to snub and
hate her. They sensed the capability as early as the time they introduced her
to the public, at a time when she was still Mtumwa. Thus, they conjured all
types of intrigues, building a concrete barrier so as to hamper her from
emerging.
It was one among her instructors who implanted hostility in the heart of
Queen Maatuka against Mtumwa, leading to humiliating and ignoring her to
the extent of not even wanting to hear her voice. Siti was aware of their plot;
that is why she pulled up her socks, preparing herself to move forward step
by step without turning back or stopping, until she attained her intended
goal. We should be aware that “Man proposes and God disposes”. Be it good
or bad, it will happen if God so wishes; and it will happen with a force that
cannot be confronted by me and you. Moreover Siti wanted every person to
recognize that her capability was not given by any person and she did not
ask for it in any way; hence it was impossible for anyone to snatch it from
her. Her endowment and her wisdom were natural and were what kept her
at a better position; because she investigated what the society needed and
knew from the beginning that there was a need for taarab group of her
peers, and she sensed that the public needed to enjoy and refresh
themselves through taarab music. That was what made her successful in
implementing her work, enabling her to break the barrier that was built by
her foes.
Every Monday evening there was a general assembly at Queen’s palace, and
women of all walks of life converged there, talking, discussing about various
social issues in jovial mood. Siti was now among them as their entertainer.
In addition to that, every Wednesday evening was an assembly of the
selected few ladies very close to the Queen, whose conversation was full of
jokes, laughter and teasing each other. Siti was now also in their group
52 | S i t i b i n t i S a a d
entertaining them with her sweet songs. Added to that, every Friday there
was a night gathering that was specifically for the royal family; close
relatives, special guests, and sometimes the spouses of ambassadors of that
time. Special banquet was served and drums entertained the invitees. In
this gathering the taarab of Mama Siti was added to the programme, making
it more official. Great musicians with their heavy musical instruments
wished they would get the opportunity and fame of Bi Siti. They were not
satisfied to be called occasionally to the king’s palace, and they lurked for
Siti’s status. But no way! He who had been given, had been given.
Not only that, Siti was reserved a special room at Kibweni king’s rest palace,
where the queen was going and staying there for up to three months to get
fresh air and get rest. Therefore among her close friends who accompanied
her now was Siti and her co-musicians. Maalim Iddi Farhan, who was
guiding and serving Siti during her stay at Kibweni palace, happened to
recount on parties that were conducted there.
Every morning, after the Queen and her entourage had had their heavy
breakfast embellished with a variety of delicacies, of course Siti being among
them, she relaxed by listening Siti’s songs. From 10.00 a.m. to 1.00 p.m. it
was time for conversing different topics of interest that induced happiness
and laughter related to Siti’s songs. On the days when the Queen was visited
by her friends and members of the royal family, receptions increased. Siti’s
taarab become official and sometimes reception went on until late in the
afternoon, while people were eating, drinking, dancing and enjoying. Due to
all that the Queen decided to officially make Siti binti Saad a palace taarab
musician.
Now everybody was talking using lyrics from Siti’s taarab songs. That being
the case, Bi Siti and her group decided to go to India for the second time to
record their remaining songs. The businessman who sponsored her in her
first trip also volunteered this time to sponsor her. In 1930, Siti returned to
India to record her other songs.
When she was in India this time, Bi Siti met an Egyptian singer who was
very famous at that time, Al-anisa Ummu Kulthum. It is said that this
singer resembles Siti in their life history. She was also in India to record her
songs. Mama Ummu Kulthum was very happy to meet Siti and know each
other. She was extremely happy for Siti’s action as woman, and in fact the
first woman in East Africa to record her songs in gramophone discs. She
organized an official reception for Al-anisa Siti binti Saad and her group.
53 | S i t i b i n t i S a a d
The thing that amazed most Mama Ummu Kulthum was to see how
musicians of Bi Siti and their singer were playing music in harmony without
using notes. She also recognized that the styles they used in their music
were the same as they were using in Egyptian taarab: the Arabic styles like
Nahwandi, Rasti, Shura, Bayati, Sika, Hijaz and others. Mama Ummu
Kulthum was dumbfounded when she saw Bi Siti singing Arabic songs
perfectly, with proper pronunciation, despite the fact that she did not know
their meaning and in fact she did not know Arabic language at all. That is
not surprising in Zanzibar, because the first instructor of this music was
trained in Egypt, and Siti’s instructor knew very well that his trainee would
be required to sing in Arabic one day; then he took necessary steps making
sure that Siti learnt the Qur-an. She was groomed enough to be able to
pronounce it perfectly, although she could not write it.
Mama Siti, on her part, was moved immensely by the powerful voice of
Mama Ummu Kulthum, and the way she controlled her voice, raising to any
pitch and stretching it for any length of time as she willed. She started at
the same point, and her voice could reach very far with the same pitch she
began with, without decreasing at any point in time. Siti was also moved by
the way Ummu Kulthum managed her group with mutual understanding
and harmony. But above all, Mama Siti was attracted by Indian music and
the way their body movements followed their music, their costumes,
particularly their traditional ones when playing their nautch. Siti was so
moved by that culture that she started to adopt Indian melody in some of
her songs Arebaba Pakistan! Hindustan that she sang while she was there;
for example the one entitled.
That was her gift to her fans in Zanzibar. When she returned to Zanzibar,
she continued singing Swahili songs, embellishing some of them with Indian
melody. It was not only that; she also introduced playing Indian nautch in
nataki style. She attracted some fans who participated in that style like
Bape and others. Bape was a male youth who imitated Siti in performing
nataki, changing himself into female characters by wearing women dress.
Siti herself was performing nataki only in indoor performances where only
women participated, because in such occasions she took off her veil and
wore a belly band.
Siti also composed songs to entertain in wedding ceremonies, the majority of
which can be heard even today; although only a few people know that those
are Siti songs in origin. Such songs were providing advice, counselling and
instructions of various types to the newly-wed couples. Verily Siti touched
54 | S i t i b i n t i S a a d
every aspect of life using this field of taarab music. She expanded culture
and traditions in every aspect. This is how she could penetrate in the hearts
of the whole community. Hence, wherever one directed a glance, one
recognized that Siti had already seen the place, touching it and leaving
permanent prints on it.
In this manner, Siti changed our culture through bringing closer taarab
music to the whole community of Zanzibar and spreading it throughout East
Africa. There was no other female singer at the time. Looking at the present
situation one can correctly say that Sit had demonstrated the saying that
goes, “When you train a woman, you train the whole community.” She also
proved through her singing that “When drums are beaten in the islands,
those who are in the mainland dance to the tune”.
Although Mr. Mohamed Ibrahim, who was sent to Egypt by Sultan Barghash
to learn taarab music, was the one who took that music outside the palace
and introduce it to the public, he could not spread it afar as did Bi Siti.
Although we have seen that it was not easy work for her; however those
women who at the beginning started war against her, fearing that she could
dominate their husbands, after receiving and putting Siti songs in their
hearts, they turned to be her faithful representatives in spreading taarab in
every corner of these islands and in the whole of East Africa. Enmity and
jealous turned to be love and close friendship. It is possible that not all the
people were touched by her songs, but they were attracted by her singing,
realizing that Zanzibar women could sing taarab equally as men or as
women from abroad. Siti broke silence of other women who were
apprehensive of this art of taarab music, fearing losing face in front of the
public due to performing taarab.
Now, various women taarab groups mushroomed, from different sources.
There were some that emerged from women groups who collected money on
rotational system enabling them to fund their social obligations of weddings
or funerals; some emerged through maulid celebrations, using taarab songs
melody in great artistry in reciting kasidas. All such groups finally changed
to taarab singing.
These were the times when the Second World War was raging. Many taarab
groups identified themselves indirectly with that war by naming their groups
using the terms related to the war. Among them were Royal Air Force, Royal
Navy, Golden Victory, Sahib el Arry and many others. They dressed as per
the name of the group and all of them sang taarab songs, mainly those of
55 | S i t i b i n t i S a a d
Siti. There were some of those groups that continued to exist for many
years. At that time every woman tried to be in those groups, or at least to be
a fan of one of them. Those groups lived up to the end of the twentieth
century.
There were also women who emerged and imitated taarab songs in their
singing. Those women only performed Kidumbaki while singing. These were
like Habiba Msika and Fatma binti Baraka, alias Bi Kidude, who performed
kidumbaki alone while imitating Siti taarab songs. That was the beginning
of Kidumbaki. Bi Kidude, after joining Sahib el Arry and reviving the status
of Siti’s songs, got sponsors who developed her and with the same
reputation as if Mama Siti was still living. It is correct to say that the star of
Siti continues to glitter, and it shines on Bi Kidude through her songs. It is
true that history repeats itself.
In addition to taarab, there were also a number of drumming groups; such
as lelemama, changani, msanja, bomu, mkinda, kunguwiya and ndege.
However, all of them imitated with great mastery Siti’s songs as per their
drum beats. Among the lelemama groups there were some which also
performed taarab music, although they belonged to lelemama, they realized
that women could also play taarab. Hence they decided, using the same
names of their lelemama groups, to have taarab section in their groups.
Among them were Akhwati Safaa group who had an agreement with their
male counterparts of Akhwani Safaa group, who imitated the taarab songs
of Akhwani Safaa by mixing them with those of Siti. Another group was that
of Lelemama el Ashrafu who had an agreement with Nadi Shuub group who
sang songs of their counterparts without excluding those of Siti.
Pemba was not left behind. During the same period there were women
groups such as that of Mama Tish and her companions, Mwambao, Mama
Peponi and Nana. But they were not strong enough; as a result they did not
survive for long. However, there emerged taarab groups all over, even at
Mombasa there was Mvita Orchestra.
Siti’s songs penetrated even to little children. They sang and imitated them
to the extent that they seemed as if they were specifically composed for their
plays. Those songs have remained in the mouths of children of East Africa
and have been passed from one generation to another. Examples of such
songs are Watoto Mnara, Kidau cha Mpamba, Ukuti and Saka Mke Wangu.
Mama Siti sang these songs which carried strong messages in them. She
never intended those songs to be sung by children, but they had an
56 | S i t i b i n t i S a a d
understood meaning relating to a certain incident, not at all concerning
children as explained below.
Siti also composed specific songs for soothing children, using her sweet
melodious voice. Mzee Ali Hassan Mwinyi lauded Bi Siti’s voice for its power
in comforting a person’s thoughts and make him soothed. Such songs are
famous and mentioned even today; but very few know that they are the
songs of Siti binti Saad. We have inherited them without knowing their
origin. That is charity that Mama Siti left to the whole society; and probably
that is why people remember and mention her without knowing who she
was. She did not leave wealth; but she left a name to be mentioned and
remembered. She was generous of giving out to the society whatever she
possessed.
It is normal for the meaning or significance or message of the song to get
lost after the passage of time. People remain to think that they are only
words of a song, meaningless; or a corruptive usage of language. This
happens everywhere in the world, not here alone. For example there are
cultural songs of indigenous dances, like bomu dance, which are sung in
Arabia, in countries like Oman, Suur, kingdoms of Arab Emirates, Kuwait
and elsewhere, and which use authentic Kiswahili words. However those
who sing there, when asked what is the meaning of the words in the song,
there common response is, “Those are words only in the dance, they have no
particular meaning.” The main cause of this situation is that no historical
records of these songs were kept and preserved, either orally or in written
form.
In ancient times it was normal for people to use songs, poems and epics to
convey a message. It is said even proposals of marriage were sent and
answered using poems. It is remembered by the elder generations that at a
certain war a message was sent using Kibuzi song, asking for military
reinforcement in the form of soldiers and weaponry. This song is now used
in children’s plays only. A phenomenon of using poetry was common up to
1950s and 1960s during drama acting on stages.
Bi Siti, in her life of singing, had no alternative but to leave us another
important inheritance by developing, reinforcing and adding taste to
Kiswahili language through her songs. She played with Kiswahili vocabulary
and terminologies, arranging them in attractive artistic form, so as to
produce correct interpretation which is tasty for those who speak and
command Kiswahili of Zanzibar islands.
57 | S i t i b i n t i S a a d
Bi Siti used her songs to explain various events and to counsel and to
instruct the society. In the following section we shall review some of the
songs of Siti binti Saad, explaining the messages inherent in them.
58 | S i t i b i n t i S a a d
A photograph of Siti binti Saad
Taken on February 1950, four
Months before her death in
June 1950
Bibi Arafa binti Salum, a singer in
Ikhwani Safaa, 1938 -1948. From her
we got many lyrics of Siti’s songs and
their translation
(On the right), producer of Siti binti Saad’s life progamme, Nasra M. Hilal, giving H. E.
President Ali Hassan Mwinyi a cassette of that programme, at Zanzibar State House, 1990.
(In the middle) Hon. Ramadhan Abdalla Shaaban, Minister of Information, Culture and
Sports.
59 | S i t i b i n t i S a a d
Members of Sahib el Arry Group, established in 1936, on the stage at Star Light Hotel – Dar
Es salaam, 1991. (Third from right, first row) Fan and admirer of the group, Ms. Laura Fair,
The author of Pastimes & Politics that has mentioned Siti
(First right, standing) Nasra Mohamed Hilal, secretary of Sahib el Arry Group, and the
author of this book. (In veil) Bi Kidude binti Baraka and other members, after recording
their songs, including many of Siti binti Saad, EACROTANAL, Zanzibar, 1987.
60 | S i t i b i n t i S a a d
(First right) Bi Mwanajuma Ali, entertaining a bride with Siti binti Saad songs. (In
the Middle) The bride totally covered with Kisutu khangas with a name of CHINJA
WAUME.
Mama Siti binti Saad and taarab musicians. (Second left) Siti binti Saad with her tumbrel.
Formerly taarab musicians were performing seated on the floor.
61 | S i t i b i n t i S a a d
MESSAGE AND LESSONS FROM SITI BINTI SAAD
Sit had never been in a formal class, but she instructed us many things.
Using her songs, she informed us about very important things. A song like
Mtoto Mnara is sung by children in a circle knocking stones on the ground.
When they finish singing, they say “He who misses a target, pinch him!” and
pass round the stones rapidly. The one who is seen with a pile of stones
with him is pinched and taken out of the game. Mama Siti had a different
intention when she sang this song.
One day, her female neighbor who was staying in an inferior mud house,
commonly known as ‘dog’s ribs’, got a boyfriend who was well off, owning a
one-storey house. That gentleman was taking the lady around, ending their
tour at his auspicious mansion, showing her around the house. He always
promised her that they would marry, but days passed without fulfilling his
promise. The gentleman stayed with her just as his concubine. The lady was
fed up with his behavior and decided not be with him anymore. As the lady
had already informed her parents that she had a fience, she thought it wise
to tell them that she had changed her mind and did not want any more to
marry that gentleman, because he was a cheat and she was tired of living
out of wedlock as doves do. She was ready to lose the storey building and
luxurious life so long as she got rid of that cheating. She sent a letter to the
gentleman informing him of her decision; but the man was not convinced
and continued to pester her. The situation being like that, the lady asked
Siti to compose a song in that regard. Hence Siti composed her a song titled
Sahib Mwandani.
Closest Friend
Closest friend,
Do not conjure intrigues.
I am not willing,
To go anywhere.
The episode is over,
Of thousand and one nights.
62 | S i t i b i n t i S a a d
A house of mud,
A mansion of stone.
When you loved me,
I stayed with you.
No more yearning for you,
I no longer need you.
Children, a tower,
A tower for doves.
When father comes,
I will tell him.
Your bed,
Has been overturned.
Songoro the black,
Has misbehaved.
Another song was Kidau cha Mpamba and Ukuti which are part of Muhogo
wa Jang’ombe. In this song, Mama Siti talked about gongo, a kind of local
brewed spirit. Alcoholism is not acceptable anywhere, but at that time, it
was totally prohibited and the drunkards resorted to go to the forest, hiding
themselves while drinking in darkness.
Therefore Siti covered alcoholism in her song calling it Muhogo wa
Jang’ombe. When she says, Ukuti wa mnazi ukiingia pepo wamtetema, she
equated the way a drunkard swayed after being tipsy and the way a leaf of a
coconut tree swayed when blown by a strong wind. She continued with this
message when she sang Kidau cha mpamba, kipakia mawe; here she was
talking about the weakness of a cotton plant which if it were used to
construct a dhow, and pile stones in it, definitely it would sway and finally
sink.
63 | S i t i b i n t i S a a d
When she says, Muhogo wa Jangombe, sijauramba mwiko, Mama Siti made
it clear that she had never tasted alcohol, except she had seen her neighbor
coming from their hiding, tipsy and swaying; sometimes insulting and
quarrelling with her wife, while she was his close assistant especially when
he was at sober state. It is for that she sings Msitukane wakunga na uzazi
ungalipo, reminding the drunkards that they really need their wives in all
their problems; hence they should restrain from insulting them.
Jang’ombe Cassava
Jang’ombe cassava,
Never have I tasted it.
Don’t insult the midwives,
Childbearing continues.
A bottle of eight rupees,
Four people drank it.
The glass is empty,
Let me see it.
A coconut palm leaf,
Trembles with the wind,
A cotton plant canoe,
Loaded with stones.
There it goes,
Down it sinks.
Goodbye forever,
64 | S i t i b i n t i S a a d
Forever goodbye.
The wife is not problematic.
There is nothing in the heart,
Of a coconut palm leaf.
Children have adapted the verse of Ukuti, singing it while going round and
round and imitating swaying and finally falling down. Verily they have acted
that verse very well.
A Child Cries For Home
Scouts and Girl Guides were singing this song frequently, particularly when
they were coming from their camp or when they finished their concerts.
They sang it while marching, while playing their mouth organs. It is not
surprising to see that majority of those who were in those units were no
aware of the fact that the song originated from the song of Mama Siti. The
song itself was titled Nauliwani. Mama Siti composed it after she had
differences with Mr. Subeit, one of her co-musicians who came from
Mombasa.
When Siti sung this song, she meant to explain that she was a weak woman
who came from their village to town to seek better life; she had no enmity to
any person. If there were bad people, it was not her. She asked Mr. Subeit to
do research; possibly he could find bad people in Mombasa or elsewhere.
She should look for bad people and know where they were. For her, she felt
this town as her home place.
Why Am I Killed?
Why am I killed?
A chick, why am I killed?
I eat nobody’s food,
A chick, what have I done?
Why am I killed?
65 | S i t i b i n t i S a a d
A chick, why am I killed?
Fresh wheat confection,
Looking for useless coins.
Alas! In Mombasa,
Flowers are destroyed by birds.
Go and guard them,
Flowers are destroyed by birds.
A child cries for home,
There comes master.
Singing and cheering,
Flutes and drums rumbling.
As a company,
We all applaud him.
A child cries for home.
Another song of Bi Siti is for soothing a child. It is very long; for that we
shall look at some verses only, demonstrating the intended message.
Hushing a Child
Cry not baby, cry not.
Garlic and frankincense,
Main Arabian medicine.
I have no intercessor,
My intercessor is my luck.
66 | S i t i b i n t i S a a d
It is Sultan’s son.
Cry not baby, cry not.
Cry not baby, cry not.
This verse informs us that in the past children were incensed with burning
skins of garlic and frankincense that are used as medicine for evil spirits or
even infantile fevers.
Cry not baby, cry not.
And make me cry.
Restrain your tears,
Cry for me when I die.
Punch your chest, while lamenting,
People supporting you.
Cry not baby, cry not,
Cry not baby, cry not.
This verse presents to us expectations of the female parent or guardian on
her child; she hopes her child will grow up to adulthood who could later
attend the funeral of the parent when she is deceased.
My child, do not go to the past;
Leaving parents still living.
I will prepare food for you,
Feeding you with spoon.
Grow up my child, grow up,
Grow up to take my instruction;
Giving you a flock of goats,
And cows to drink milk.
67 | S i t i b i n t i S a a d
A mother always aspires for better things for her child, as the adage goes, “A
good song is the one that befits soothing a child,” so that he acquires what
is predicted in the song. In the following song Siti also signaled other things.
I had a tour,
Along the Bungi beach.
I saw a hog,
Tied to a cross.
I saw a casket,
With cloves inside.
The casket is amazing,
How the owner looks like!
When Mama Siti says Kijaluba kina karafuu ndani, she informs the public
that at Bungi, some kilometres outside the Zanzibar Town, there is a
kingdom, and it belongs to a woman. As the casket is of great value,
definitely it belongs to someone of very high status. She also says she saw a
male pig crucified on the cross. There she used a cross stuck on the ground
as a symbol representing a tomb; and crucification of a male pig means a
male slave was buried there. That is to say at Bungi there is a tomb of a
male slave. Thus, this verse embodies the whole story of a princess who was
living there who was a spinster but who used to have love affair with her
male slaves; she slept with them and in the morning she killed and buried
them so as to keep her behavior in great secrecy. That who was doing such a
thing was none but Bi Khole binti Said bin Sultan.
In the following verses, Mama Siti also sang about her life and the root she
took to reach where she was:
What is that really?
Along the river bank.
Calling it, not responding,
68 | S i t i b i n t i S a a d
Only making me depressed.
That coming canoe,
Must contain something for me.
Beads to string together,
The size of my neck.
Not to be worn, not to be kept,
Hidden from my peers.
Shown only to my aunt,
Who knows my secrecy.
Using these verses she describes her life, from where she started, not
knowing what was to come in her future, and the more she tried to regulate
her life, the more it became complicated; to a point of regretting with the life
she was in at that time. However, when relief faced her and better life
dawned on her, she knew that was her blessings from God and she had to
preserve them. She never forgot one very important person in her life, and
that was her aunt, who raised her and she never got tired of giving her all
assistance she needed. In addition to that, she comforted her and
counselled her using various words and actions; she also raised and
initiated her daughter in the work of pot-making. In fact that was the only
person who knew the secrets and difficulties of her life, in happiness and in
sorrow, in her whole life process.
The following verse explains Siti’s sorrow that befell her from her second
husband; when she was chased from the house, reaching a stage of thinking
that she would better for her to be sold as a slave so as to be relieved from
her hardships or at least she could get a change in life:
Travelling with my Master,
He abandoned me.
69 | S i t i b i n t i S a a d
Staying for the whole day,
Overpowered by famine.
Better to sell me,
To Songoro, the Nyamwezi.
He will get a white lady,
Shining like a full moon.
Revisiting her Kigalawa song cited above whose meaning we reviewed in
summary, here we shall try to see the whole song and explain in brief the
meaning of each verse.
Outrigger Canoe
An outrigger canoe,
Like any other vessel,
In the sea,
It goes swaying.
Do not take it off,
A purdah conceals things.
The outrigger canoe,
Take me to Mikindani
Send me,
To Mwinyi Huseini.
It is strange,
A fire to burn in a well!
Starting directly by looking at the second verse, Siti used a canoe as vessel
that could take her across to the far end so as to present her ideas to the
70 | S i t i b i n t i S a a d
king, and noting that it was something inconceivable for fire to enter the
well. By that she meant adversity of her opponents was fire and her
perseverance was a water well. Therefore if fire cannot burn brightly in
water, then her patience would produce goodness and extinguish their
enmity.
Then she wanted Kigalawa to take her with her little property she possessed
and give it to a pawn-broker as security so as to liberate herself from
dominance of slavery and be free.
The outrigger canoe,
Bring valuables in the basket.
For your payment,
I will give you half a pound,
Of my necklace,
To be kept to a pawn-broker.
Not skilled as you are,
Why meddling with others’ affairs
She used the phrase si mzungu to mean that the messages which were given
to those who were in initiation ceremony could not be understood by anyone
else, except by mnyakanga, who was an expert in decoding such messages.
Therefore if you are still in an initiation stage, do not try to decipher those
riddles as you will not be able to do that. They will only put you into
problems.
She continued by advising others that it would be better for them to go and
find something that would suit them, but if one will confess that he or she is
ignorant, then one should go and consult her as she was always ready to
instruct others. You should not remain lamenting while you are to blame.
Go and look for,
That is appealing to you.
If you do not succeed,
Come and buy from me.
71 | S i t i b i n t i S a a d
Do not cry,
You have beaten yourself.
She concluded her song by declaring that now she had no doubt or worry as
she knew well how to use and preserve what she possessed. She could not
sell or hire it; but it was for her use only, in a manner that befits her. In that
regard she cannot cry, but it is time for her to silence those who cry due to
their jealousy and meanness which has debased them. For a person who
had misfortunes due to his wickedness, she would not answer him nor
asking herself the cause that made him cry. Because the fault is his,
committed deliberately. That is a fault of a mule, crying while the mane is
not his, knowing very well that it belongs to a horse.
I am not worried,
Being skilled in this work.
I do not hire,
Lending to those who borrow.
I don’t cry,
Silencing those who cry.
Her other song which is very famous and liked very much and which is
remembered by many people even in the present time is Kijiti
This song recounts an incident that really occurred in Zanzibar. It is an
incident that talks about a certain woman who came to visit Zanzibar from
Dar es Salaam, and arrived at the house of her husband’s friend. She did
that for the purpose of knowing her female counterpart so that they could
exchange visits in the future. It happened there was one gentleman who was
well off who after seeing this woman, he seduced her, hoping to get
opportunity to sleep with her. The man did all that he could to win her love;
but the woman refused and was totally adamant. So the man felt he was
ashamed. He wondered how comes a man of his status be turned down by a
woman! To attain his goal, he contracted one elderly woman who was called
Kijiti, noted by her skill in luring women and bring them to men in need of
them. Kijiti never failed in her work and her traps never missed. Her
craftsmanship was superb.
72 | S i t i b i n t i S a a d
Kijiti, just after being charged with that assignment, did not delay in
fabricating her plot. The man who was well acquainted with Kijiti due to her
work, was hundred percent sure that he would never miss that guest. Kijiti
began frequenting the woman, conversing cordially and jovially with her
about different topics. She did that so as to understand her psychologically
and to win her confidence. Gradually, she built close friendship with her.
Kijiti presented her with different valuable gifts, until the guest was used to
her. After a time, Kijiti felt that she was well acquainted with her new friend,
to the extent of being trusted in an environment where her goal would be
easy to achieve.
In her search of appropriate time and justifiable cause that would enable
Kijiti to go outing with her guest, there appeared a coincidence. The
government organized a big festival. All local dances were to present
themselves at Chukwani king’s estate where the Queen would also attend.
All people were going outing there, participating in the festival and enjoy.
When Kijiti received that information, she decided not to let that opportunity
to pass by. Without hesitating or delaying, she requested her guest to
accompany her to the festival to show her around the Zanzibar drums.
Because Kijiti was a middle aged woman, she showed no signs of
wickedness and could not be doubted. Hence, the stranger was not worried
about the possibility of being harmed by anybody in any way, let alone to be
treated in a wrong way by her host. Therefore without any difficulty the
guest accepted the invitation. Pleased and excited to visit strange sites, she
prepared herself for the tour to Chukwani with Bi Kijiti. On the part of Kijiti,
she very secretly informed that guy about all her plans and preparations.
They resolved to take her to Mtoni instead of Chukwani.
The guest did not know the whereabouts of Chukwani, Mtoni, or Sharifu
Mussa; and she was not aware that Chukwani and Mtoni were in opposite
directions, several kilometres apart. One was to the north of the town and
the other to the south. When they reached Mtoni, Kijiti asked her to sit there
and rest for some time to prepare themselves well before arriving at the
festival. While they were there, Kijiti began to make the guest drunk; and
after seeing that she was really tipsy, practically unconscious, she knew
that her plan had succeeded. Then she called the guy and left, leaving him
to do whatever he wanted to the stranger. They did all sinister things on her.
Finally the woman died. The woman was pregnant. Realizing that the
woman had died, they dropped her corpse on the main road at Maruhubi.
73 | S i t i b i n t i S a a d
The same night, Mama Siti and her neighbor, Bi Chausiku, were coming
from taarab show which was performed at Mkokotoni. When they arrived at
Maruhubi, they saw something like a person lying in the middle of the road.
Because it was dawn, they thought possibly it could be a drunkard who had
fallen down. They came out of their taxi with their driver, Sumail, to keep
her aside. That is when they found out that it was a corpse. They could
recognize her as the body of the stranger who came from Dar es Salaam,
because her host, Kijakazi binti Subeti, was staying just in the second street
from where Bi Chausiku lived at Mwembetanga.
Bi Chausiku’s husband was an Inspector of police. So, just on return home,
Bi Chausiku informed her husband about what they saw. After following up
the matter, it was found that Kijiti was the one who sent the guest there;
and therefore she knew what happened to her and she was directly involved
in that murder. But as the adage goes, “Money speaks”. That was well
known by that crook. Realizing that the whole secret could come out, or
possibly Kijiti could be in trouble and give out his secret, the guy used a
good amount of money to bribe the judge who toppled the case upside down.
As such Sumail, the taxi driver, and Kijakazi binti Subeit, the hostess of the
guest were found guilty and were convicted! Kijiti and her sponsor were
found innocent and were acquitted!
In that regard, Mama Siti sang that song, being sure of what happened,
revealing that crime to the public.
Kijiti
See! See!
What Kijiti had done.
Luring a stranger,
To children game.
Leading her to the forest,
Returning her deceased.
We left home,
74 | S i t i b i n t i S a a d
Without asking permission.
Our alcohol in a basket,
Carrying it ready.
The festival at Chukwani,
Death at Sharifu Musa.
Kijiti told me,
Come on, let’s go.
Had I known,
I would have refused.
You kill me Kijiti,
With a tot of alcohol!
The judge was furious,
Sitting on the chair.
Retorting bloody fool,
To witnesses against Kijiti.
I’ll imprison you, Sumaili,
And K. binti Subeti.
This is astonishing,
Whenever we look at them.
Kijiti has killed a person,
With a child in her belly.
Kijiti safely crossed the river,
75 | S i t i b i n t i S a a d
Witnesses drowned.
Kijiti, take my advice,
Never go to Dar es Salaam.
You will meet an old guy,
In combat gear.
People have cursed you,
May God give you elephantiasis!
Mama Siti having sung that song, people got a clear picture of the manner
in which that evil act was committed and understood the truth of the whole
issue, how it occurred, and the truth was open.
There are many incidents that occurred in every corner of these islands
which taarab musicians of Siti group saw them, composing songs about
them and rebuking them. When they visited Pemba to entertain their fans
who were there, they arrived at Jambangome, Mgagadu, where there lived
one Arab who was a farmer. This man had many laborers working for him,
who had taken them from Unguja and Mainland. By the side of his farm,
there was a very deep pit that was well preserved. This man was extremely
fierce! He killed all workers who were found guilty of something, or those
who were thought to be lazy and sluggish, or those who fell sick and could
not work, throwing them in the ditch to rote. All the people in the village
were afraid of him; but they had no power over him. Bi Siti and her
companions when they returned from there, composed a song titled Si Mji
Haukaliki. However, they did not particularize the place, they only
generalized it as a town.
Inhabitable Town
It is inhabitable town,
With thorns pricking,
Hades is inhospitable,
We have advanced sins.
76 | S i t i b i n t i S a a d
Affairs are never upright,
We always lament.
What is safe for us?
To improve our situation.
Piercing a sore,
Stuck in the heart.
We hesitate repenting,
Being tongue-tied.
Better to go to Uganda,
Or town of lepers.
What is safe for us?
To improve our situation.
Whenever we make effort,
We don’t see ahead.
Whenever a day passes,
We don’t float, we sink.
Commiserate us, Oh God!
The most Gracious.
What is safe for us?
To improve our situation.
Employment is scarce,
Only remains handcarts.
77 | S i t i b i n t i S a a d
Unable we are,
Loading and pushing them.
By grace of the Prophet,
On the day of resurrection.
Humiliation should stop,
Without recession.
What is safe for us?
To improve our situation.
As Siti and her companions had nothing else to do there, they composed
this song as a way of informing people about what was happening at
Jambangome.
Siti binti Saad did not hesitate to talk about those who stole the government
property; those who took bribery in one way or another. She was very keen,
especially when an incident occurred; she did not delay in composing a
song, detailing the incident and informing the public the truth of the matter.
Those musicians were like a weekly newspaper or a radio broadcasting an
official news bulletin.
Such songs are sung even today in Bomu dance. For example, Mselem
Kahamia Kianga in which he talked about Mr. Mselem who was a senior
officer collecting government revenue. One day Mr. Mselem organized a very
expensive wedding ceremony for his child. This led to launching an enquiry
pertaining to Mr. Mselem’s celebration. He was found guilty of embezzling
government funds and was imprisoned in Kianga jail.
Siti composed many songs of that type; some of them are the following:
No Kinship
There is no lineage,
I am so and so.
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A word is like hurricane,
Burns in the chest.
Your name is You there!
With a heavy rock on the head.
In this song, she informed us that no one is above the law. Even if you
belong to a royal family or you come from a high class, in front of the law
that is irrelevant. Once you are convicted, that’s it; you shall be imprisoned.
There it is not necessary to be called by your name, but you will be called
“You there!” or “Hey there!” while a heavy rock is on your head, after being
imprisonment with hard labour.
Leave your injustice,
Robbing the poor.
Who have no say,
Utterly ignorant.
Their pen is always,
Ink in their finger.
In the above verse, Siti informs us that we should not oppress other people
due to their illiteracy, especially those whose signatures are their left finger
prints, because that was not their fault.
Pilferage is unacceptable,
Robbing the government.
Their books are open,
Signing by turn.
Past transaction,
Is currently audited.
Do not be deceived,
79 | S i t i b i n t i S a a d
Heed my advice,
Beware!
Lest it should come through your nose.
Be contented with the little you get,
Your dues as clerks.
Dear Kinsfolk
Dear kinsmen,
Rural and urban.
Employed by Europeans,
Dominator of the world.
Restrain your hearts,
Yearning for other’s belongings.
Don’t play with magistrate,
Judging on the table.
You will torment yourself,
For trivial things.
You are aware of this,
A splinter to the eye.
A lawyer is useless,
Be he a London alumni.
Worthlessly will devour your wealth,
And be sent to prison.
80 | S i t i b i n t i S a a d
Tightening his trousers,
Strolling back home.
Don’t be hopeful,
That there is an appeal.
That is a deceit,
Pushing you into a snare,
Nothing beneficial,
Once the judgement passed.
In this song, Mama Siti warns us on the fate of a person who
misappropriates government funds, deceiving himself that he will be saved
by a lawyer or by appealing; the reality is that all that are helpless.
Another incident concerned Siti herself. There was one rich man who
wanted to have sex with Siti; but Siti refused. This annoyed the man very
much. So he declared that he would give bail to pay fine to whoever
managed to beat Siti, if he was charged. When Siti got that information, she
composed the following song, liking herself with a cat:
You Cat
You cat,
Why are you punished!
I am a cat,
I eat nothing of anyone.
My fault,
Entering into houses
81 | S i t i b i n t i S a a d
I’m depressed,
What else!
Loneliness,
Poor in this world.
With no means,
I depend upon God.
I need healing,
Depression has increased.
My wishes,
Have long been fulfilled.
After roaming,
You will return dancing.
In this song Siti defended herself but it also took the hearts of other women
who had had the same experience like hers. Such incidents encounter
particularly women of poor living condition or who come from low social
classes. Were this song to be sung today, there would be women who would
shed tears because such incidents occur even in our time. If the incident
has not happened to them personally, they have happened to the people
they know, possibly who have lost their lives.
Through such songs, Mama Siti touched every aspect of life and touched the
hearts of people, reminding them of the unhealed wounds of the poor and
the weak.
Poverty Can Do Nothing
What can one do!
The poor to please.
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Compared in the eyes,
To a wealthy man.
There is no likelihood,
I have assessed.
Pondering deeply,
Thinking heavily.
Whenever I view them,
I never discern them.
The poor is never safe,
Goodness brings him calamity!
Poverty is weakness,
It is like fire.
Were you a dignitary,
Glittering like a jewel.
You shall be seen imbecile,
Not included in discussion.
Poverty is something heavy,
Created by God.
Adult becomes a child,
Brave becomes imbecile.
Your say resembles a dream,
Not included in discussion.
83 | S i t i b i n t i S a a d
The poor is detested,
Denied by his kinsmen.
Approaching them they flee,
Though you are faultless.
Poverty is a nasty thing,
It resembles hell.
Poverty is like darkness,
Pitch darkness.
Society chases you,
Making you an imposter.
You have nothing pleasant,
To children and adults.
Impossible for the poor,
To be equal to the rich.
Born from a royal family,
Really powerful.
You’ll be a chimpanzee
Or rather a pig.
Poor can have a wife,
Married with dowry.
Try to touch her,
84 | S i t i b i n t i S a a d
She refuses you.
Jeering at you,
Sarcastically with insolence.
Finally in argument,
Poor has no happiness,
Spouse pushes you,
Going on her own.
Even if you are hurt,
Have neither bile nor initiative.
The rich not sympathizing with him,
No one talks about him.
This song teaches us that poverty is the creation of God, it is not something
that is asked for, and everyone can get into it. It is not good at all to despise
the poor; all religions teach us not to scorn them, as it can reach to any
person without asking for it. The adage goes, “Difficulties are mobile, they
knock on the door of each one”; and they have no eyes, they can engulf
anyone.
Siti also sang praising pregnant mothers, after one married woman
recounted her about her fate due to her delaying in getting a child. Her
parents in law and her sisters in law began to scandalize her to their
neighbours. However, after some time, the woman conceived and she safely
gave birth. After hearing the incident, Mama Siti composed and sang the
following verses:
Pains of Childbirth
Pains of childbirth,
Is known by Fatuma the bearer.
She faced difficulties,
Distress and hardships.
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Sickness is optional,
Death is a must.
Pains of childbirth,
Is known by the bearer.
Continuous barrenness,
Of Tamatiti and Binti Jo,
Is a buffalo pride,
Facial gazing.
Ah! They thought,
I wouldn’t get this respect.
Pains of childbirth,
Is known by Fatuma the bearer.
Facing difficulties,
Distress and hardships,
Sickness is optional,
Death is a must.
Mzee Ali Hassan Mwinyi once explained that these words, mashaka, taabu
and kazi were three words with different usage in a language; but Mama Siti
used them artistically to demonstrate how these words are common to
pregnant woman, even at the time she is not yet in labor, a stage at which
she could even lose her life. Mzee Ali Hassan Mwinyi explained how those
words have been skillfully utilized in the song to show how this lady, though
never attended formal schooling, was an expert in playing with words.
Even if dying is a common thing to human beings, in a state of pregnancy it
becomes very close. Mama Siti says that, “Pains of giving birth are known by
Fatuma the bearer”, showing that the problems of pregnancy and labor
86 | S i t i b i n t i S a a d
during giving birth is felt by the mother herself only; it is not something that
can be explained, or experienced, or known by someone else. Because even
to the mother herself, every child is born in a manner different from others.
Siti, using different ways, explained and informed, entertained and talked
about love in its various aspects, commending the government and its
leaders who at the time were kings and Europeans who cooperated with
kings. She also sang joking songs and acted; as she did when she teased the
traditional healers in performing exorcising ceremony. The following is one
of those songs.
Hats Off!
Hats off!
Hats off to local healers.
Hyena, don’t interfere,
Your bone is at Mpakani.
Ok! Hats off!
At this instance drumming and flageolet sounds take lead; a person
pretends to have evil spirit on her head, shouting loudly (that is Siti’s voice).
You have called me, teacher,
I am present.
Lay me a table,
That I may eat.
Announcing my identity,
Before departing.
The words umanita, nimakuja is how evil spirits say using rural dialects of
Kiswahili.
She even teased the peasants when they were in their fields chasing birds
who could destroy the rice. One day when she was on her way to Bumbwi
Sudi for a taarab show, she coincided to pass across paddy fields; she saw
people at work. When he arrived there, she immediately composed a song for
them and they were very much amused. She said jokingly like this:
87 | S i t i b i n t i S a a d
Flowers oh! Flowers!
Are destroyed by pests.
Mr. Jabrani,
Go to protect them.
Oh! Flowers!
Are destroyed by pests.
Hurry up!
Come to pick your child.
You have got a child,
Pompously at Mangapwani.
Come and pick your child.
Seeing it,
I was shocked.
Seeing myself,
With no money, I had to borrow.
Oh! Flowers!
Oh! They are destroyed by pests.
It is important to clarify that this is not an anthology of Bi Siti songs,
however it is necessary to review some of her songs to demonstrate the good
work she did in her life time and how she changed our society in general.
She praised her country and welcomed strangers to come and visit it. Thus
she sang, Unguja ni Njema Atakaye Aje. These are the words spoken by the
first time by Siti, and because of their authenticity, they are used up to now
in relation to our country and its people.
88 | S i t i b i n t i S a a d
Zanzibar is Nice, He Who Wishes May Come
Prologue:
Unguja is nice, ever since,
Unguja is nice, it’s really nice,
He who wants may come.
Chorus:
He who wants may come,
Unguja is nice, it’s really nice,
He who wants may come.
Land of abundance, since time immemorial,
It is flourishing, full of love.
When strangers arrive, and stay,
They really become happy.
Strangers come, don’t be skeptical,
People are generous, who don’t wave,
Anyone who comes, is welcome with goodness,
He becomes contented.
All welcome, do not doubt,
Amazing old ruins,
Of eminence, found in Unguja,
You will be entertained.
89 | S i t i b i n t i S a a d
Miraculous spices, well formed,
Attractive landscapes, all around,
In the sea and on land, in the island,
God has put it.
Peace and tranquility, always for sure,
Skills in all fields, you are comfortable.
Always forever, they will remain,
Come you will be gratified.
Among the songs Mama Siti sang, love songs were the majority. Songs that
soothed the fans or if they were quarreling to make them be aware of the
value of their love, convincing them to forgive each other, after realizing
where they went wrong, then they should comfort one another.
You Whom I Trust
You whom I trust,
Don’t torture me,
My feeling of kindness,
Don’t destroy it.
Disease is dangerous,
If there is no doctor.
Think back,
When you first loved.
90 | S i t i b i n t i S a a d
With intrigue,
So as not to escape you.
Don’t worry,
I belong to you alone.
I ask you,
To remain cool-hearted.
Be prudent,
Sticking together.
Do not push me,
Show me amazement.
I give you a sign,
Not yesterday not today.
Whenever I weigh them,
I don’t head for amazement.
Devil, keep away,
From the lovers.
This song is about a lover who seeks reconciliation with his lover to the
extent of wishing the evil spirit not to interfere with their love, lest they
should be disturbed.
Laughing Unhappily
I lough without happiness,
Due to love that covers me,
My heart is sore,
91 | S i t i b i n t i S a a d
Don’t think it is a joke,
My love is permanent,
You don’t sympathize with me,
Investigate my fault.
Do not hurry,
To listen to others.
They are not at all good to me,
Goodbye I am leaving,
You will remember me,
Love is luck,
I knew before.
It is not present,
Is permanent happiness.
I love you, you don’t love me,
It matters nothing.
I preferred death,
To come to me.
Hypocrites don’t cease,
To sympathize with me.
To you it didn’t suit.
Probably my luck.
92 | S i t i b i n t i S a a d
This song presents a situation where a person loves another person, but the
other does not care. The lover becomes uncomfortable, and even if he
pretends to lough it is not through happiness.
Friendship Owes
He has returned,
Friendship is a debt.
You should think,
That is not good.
I have apologized,
I am very happy.
He has returned,
My lover.
Bear in mind,
That is for sure.
I have apologized,
Return quickly.
Please return,
I may be happy.
My heart cooled,
Healed my sores.
Give me appointment,
To heal my sores.
93 | S i t i b i n t i S a a d
By God trust me,
I have decided.
You don’t go out of my heart,
Even for an hour.
Do me a favour,
You may return.
In this song Bi Siti recounts about a lover who seeks reconciliation but he
has no hope of being pardoned by his counterpart; it is for that he asks for
an appointment so that they could enjoy.
If Only
If only,
I were to love very much.
No contrast,
Is in my heart.
I will not leave you,
Today and tomorrow in paradise.
If only,
My heart-felt love,
With no contrast,
Or doubt in me.
I will not leave you,
Today and tomorrow in paradise.
94 | S i t i b i n t i S a a d
Sorrow,
Passing by the door.
In need of you,
While you know well.
I am yours,
Today and tomorrow in paradise.
My eyes,
Glancing to the door.
My love,
I can’t see him.
He is mine,
Today and tomorrow in paradise.
No one,
I admire.
In any respect,
I revere.
I will not leave you,
Today and tomorrow in paradise.
In fact this is the most liked song, however nowadays majority of people sing
it only using the love words and even the melody used is different.
95 | S i t i b i n t i S a a d
They Have Spoiled Me
They have spoiled me,
Your habits.
They burn me,
In my heart.
It has engulfed me,
Unfortunate love.
Unfortunate love,
It has engulfed me.
Unfortunate love.
When I remember,
I contemplate about you.
I fall in love,
Know that well.
I succumb,
I better consent.
I better consent,
I succumb.
I better consent.
I signal to you,
How you torment me.
96 | S i t i b i n t i S a a d
Know that I don’t sleep,
Due to craving.
Better do me a favour,
Give me your decision.
Give me your decision,
Better do me a favour.
Oh my love,
Better do me a favour.
This song explains how one lover is worried by a true love of his counterpart.
He pleads to be forgiven due to difficulties he encounters as a result of love.
Experiencing Culture
Expecting to experience culture,
Whole culture.
Do not be erratic,
Make effort.
Love one sympathetic,
To give you comfort.
If you want to be mine,
Do not desert me.
Plug your ears,
Not to hear.
Humans are not good,
97 | S i t i b i n t i S a a d
Go before them.
Sweetness of sugar,
Is in swallowing saliva.
Your red lips,
Resemble sapphire.
Missing your greetings,
Is better to die.
Oh! My God,
I beg you our Guardian.
Oh! My God,
I beg you our Lord.
Oh! My God,
I beg you our Lord.
By this song Siti intended to advise the newly married couples. As their love
was still new, it usually involves a lot of heat; if they do not have tolerance
and leave aside all that people are going to say, then their love could vanish
suddenly, burnt and ruined.
Excessive Love
Excessive love,
Goes to a hero.
Good luck goes,
To a wrong person.
Loving resembles dying,
98 | S i t i b i n t i S a a d
A lusty person,
Loving a lusty person.
In excessive love,
When one is involved.
Is not a joke,
Do not pray for it.
It’s a real death,
When you love a beast.
When you love a beast.
Excessive love,
Goes to a dignified person,
And good luck goes,
To an ugly person.
It is death,
To love an ignorant.
To love an ignorant.
Those who are ugly,
They are the ones who act.
Just like an ignorant,
Who has changed his heart.
You have no determination,
You know not who loves you.
99 | S i t i b i n t i S a a d
You know not who loves you
The lyrics of this song were written by one co-musician in the Siti group. It
narrates the truth of love that it is not selective. Love has no eyes; one can
fall in love with an ugly person or an imbecile and a beautiful one remaining
with jealousy, unheeded. Love is heart’s secret, and the one in love, has
already loved; no one can ever change his or her mind.
But on the other side of the coin, one of the lovers can be dishonest and the
other can be two-faced; as it is not easy for a person who has been betrayed
to continue remaining honest to only one lover. In that case it becomes
imperative that one should step aside, usually the one who is weaker of the
two; stretching her neck, reluctantly consenting and give chance to another
lover. Let us see the verses below relating to a gentleman who bids farewell
to his lover. Due to the fact that he is less strong then his opponent, and he
cannot take in the chaos caused by the scrambling, he resorts to leave his
lover to the one who is stronger than him.
Goodbye
Goodbye forever,
Goodbye, not seeing me at your home.
For better or for worse,
For necessity of for option.
Goodbye my dear,
Today is not yesterday.
Goodbye I have seen,
The end of your love.
Goodbye my love,
Goodbye forever.
Goodbye I am leaving,
100 | S i t i b i n t i S a a d
And I am not sulky.
Goodbye there is my friend,
Not good to annoy him.
Goodbye I have seen,
The end of your love.
Goodbye, I have heard,
I don’t say on assumptions.
Goodbye, I have been told,
By slaves and free men.
Goodbye, I am leaving.
Not better to meet.
Goodbye, I have seen,
The end of your love.
Goodbye my dear,
Not better to deceive each other.
Goodbye it is normal,
People forgive one another.
Goodbye I have changed mind,
Better to tell one another.
Goodbye I have seen,
The end of your love.
This song shows us humanity and truth of a lover who, although he is in
love, he is prepared to sacrifice and leave his lover so as to make her happy
101 | S i t i b i n t i S a a d
by getting what she likes. Siti songs may make you happy, or they will guide
you to what you are supposed to do, or they make you cry, depending the
extent to which they touch you.
There is another song that she sang to demonstrate how love can capture
someone:
By God Believe Me
By God trust me,
Take my secret.
My thoughts wander,
I don’t know what to do.
Deceit has gone too far,
Do me a favour.
Do me a favour,
By God I do not sleep.
My anxiety has increased,
And I am busy.
To be far from him,
Deludes my thinking.
I have no way,
Especially when I remember.
Not speaking to me,
It is difficult for me.
As I speak,
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My eyes shed tears.
Close acquaintance,
Acquired by the wise.
And wishes,
Are not fulfilled by force.
Delicious love,
Needs to be wise.
The only child of Mama Siti, Mariam binti Rajab, alias Bi Kijakazi, followed
her mother in town after getting married and getting one son called
Mohamed Omar. There, Mama Siti initiated her daughter in singing
profession, and Kijakazi used to accompany her mother to taarab
performances. Kijakazi captured well all the instruction pertaining to
singing; however she could not reach the level of her mother.
When Siti started to train her daughter, people began saying this and that;
to silence them she sang this song:
When Talked About
When spoken against,
You feel praised.
When talked about in the village,
You neglect it.
And a breast sucked,
Is the same even played with.
I am fed up,
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To be buried alive.
Friends speak against me,
Losing face to the neighbours.
It is surprising,
A squirrel to forgive a pawpaw.
A loving heart,
Do not change it.
Do not pamper it,
For this and that.
Let’s stay cool,
Not thinking about them.
A loving heart,
Has no equal.
When I saw you,
I accepted you.
Missing you,
To me is impossible.
By this song she intended to make them know that she was aware of their
backbiting, but they should also know that she was fed up of their behavior.
For a child to suck her mother’s breast is not something strange; “If an
ironsmith child cannot forge, he can blow the bellows”.
She continued to give out her feelings by composing verses like the ones
below:
Le them roam about,
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With their sufferings.
Feeling ashamed,
They turn down their faces.
What has a beginning,
Has its ending.
Afraid of being mentioned,
You won’t do anything.
One may be normal,
And taken to be abnormal.
Humans disfiguring others,
Is their nature.
You Are Useless
You pretended to be able,
While you are totally incompetent.
Things have taken you aback,
Good gracious, poor you!
Who cannot be a captain,
How concerned with a vessel!
Ancient people,
Have no mercy.
There is no neighbor,
Nor good relative.
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What can one do,
To get virtuousness.
Eat mangoes,
Do not knock them with stones.
No, except the stem,
Belongs to me.
All of a sudden,
Do not be fooled by love.
I am always hungry,
With rice in a saucer.
I am always thirsty,
With a cup of water.
I have got,
What I wanted.
Each of the above verses has its own meaning; carrying specific blows to
those who are jealousy to her.
The following two last examples of Siti’s songs relate to praising the king and
his other administrators. Siti sang one of them at the occasion of receiving
King Khalifa bin Harub on his return from Britain. At that time, the king’s
palace taarab had already been dubbed as Siti’s Taarab.
This first song has been praised by many people, including the late Shaaban
Robert and His Excellency Ali Hassan Mwinyi, who cited this song as a good
example of how Mama Siti used and connected different languages in
bringing thrilling and attractive connotations.
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Solitude has deserted us,
Bountiful prayers to God.
Return of the King,
His Highness the King.
All of us thank him,
The Eternal God.
May he remain safe,
His Highness the King.
His Highness the King,
May he be in peace.
With sea troubles,
Waves and rolling.
God will safeguard you,
Always in every journey.
May he remain safe,
His Highness the King.
Sir Ibun Harub,
You are our honourable.
May God protect you,
Your enemies being speechless.
Achieving your goals,
Living an upright life.
May he remain safe,
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His Highness the King.
God will protect you,
And be safe our Leader.
Nothing should harm you,
Until doomsday.
Punishing and giving orders,
To defiant enemies.
May he remain safe,
His Highness the King.
When the Ruler left,
Citizens were sad.
We all lost strength,
Fearing calamity.
And now you are back,
We shall flourish.
May he remain safe,
His Highness the King.
God shall protect you,
With full protection.
Executing what you wish,
An enemy sinking.
Performing every good,
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Following Islamic code.
May he remain safe,
His Highness the King.
May God raise his status,
Confirming his position.
Depriving him of ailments,
Remaining healthy forever.
By grace of Ibadhi,
And his diligence.
May he remain safe,
His Highness the King.
He and his family,
Should enter paradise.
Abdalla the prince,
Said the honourable.
Lord of kindness,
I raise jubilations.
May he remain safe,
His Highness the King.
The end I conclude,
The end of composing.
May God give you long life,
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You and your family.
Here the verses end,
I fear slip of the tongue.
May he remain safe,
His Highness the King.
She also glorified the British when they were our colonialists.
Praises to the British
I praise the British,
And General Smart.
He has built the mainland,
He has abolished segregation,
He has flattened the mountains,
Through luck and fortune.
They have nowhere to stay,
The lion has entered the thicket.
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HOW SITI SERVED HER COUNTRY
Singing in traditional local drums in Unguja has been known since time
immemorial, even before the coming of taarab; however, it was Mtumwa
binti Saad who brought it to the fore when she unwinded her voice inside
her husband’s house at Mwembetanga. That action made us understand
that the vocal art, poems and even musical instruments could also be ours.
Instruments which were used at that time were indigenous, such as
clapping, ululations, shrills, and sometimes even two short sticks used to
signal the start and the end of singing, or even following sound rustles.
Empty dried mango stones inside which were put small gravels were used as
musical instruments by artistically knocking them against each other,
producing sounds agreeable to the ear. Some of these local musical
instruments are in current use even now, particularly in msewe dance.
Mtumwa encountered singing as their field of art since she was still at their
home village of Fumba; only that it was not in the form of taarab. It is a
common practice for rural villages to perform annual festivals in which
performance of local dances is a usual phenomenon. In such occasions,
women are the majority of the participants, and their principal role is
composing and singing topical songs. Likewise in towns such practice was
common. For example, there was a certain local dance in Unguja town,
which by then Siti was not aware of it. This dance was performed annually
only in Unguja town, to receive a new year. The dance was called shinda and
was performed solely by women. Although it is called a dance, there was not
a single drum in it – there were songs only, and perhaps sometimes sounds
of small bells worn in the feet were used to accompany the songs. Late at
night women dressed in their beautiful khangas passed round to every
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house, and waking those who were by then asleep with their joking and
jovial songs.
Definitely, Siti was to a certain extent influenced by her village local songs in
her singing. Among all important things she left to us, the most valuable
heritage was her zeal in preserving our national language. She had no such
intention at all, but she did it skillfully and with exemplary eloquence.
Through her songs, she added a good number of sweet words in our
Kiswahili language, something that her fans and her audience admired and
imitated it. By that procedure, society found itself receiving and learning
new vocabulary which they used in their daily conversation. It was not only
in Unguja or East Africa, but Bi Siti propagated Kiswahili to every corner of
the world. She did that through various invitations to tour and perform
taarab shows in various countries, and also through records of her songs
that were played in various broadcasting stations in the world.
This work that Mama Siti binti Saad did is equal to the one which was done
by foreigners who visited Zanzibar for different purposes. They increased
their vocabulary to enable Kiswahili to meet their trade and communication
needs in various locations they reached. It is understood that through this
method Kiswahili accumulated a good mixture of vocabulary from many
languages; such as Arabic, Hindu, German, Portuguese, English and many
others from Africa. Bi Siti filled the gap between the words of foreign
languages and those of indigenous speakers, raising the level of eloquence
and make Zanzibar Kiswahili to have that special flavor which is praised by
everyone hearing it.
However, in addition to her melodious voice and her precious work of
propagating Kiswahili, Siti binti Saad will forever be honoured for her
gallantry and confidence. She was not the type of a woman to despond as a
result of her life condition; because she knew very well that there was no
problem without a solution. She knew that steadfast determination, with
specific goal, is a firm base for life development. She believed strongly that
nothing was impossible in human life.
Her stance is to be taken as an example and is to be emulated by every
woman who is concerned with her comfort in life. Mama Siti is among the
few women, especially at the time of her living, who totally defied defeat in
fighting for her right of liberating herself from humiliation, despise and
segregation. She established model qualities which a woman of humble
status should have, like unwavering determination. Siti demonstrated that a
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modest person is a person just as any other. The level of her liberating
herself in life is to be emulated by any woman who aspires for her liberation
to better life.
After divorcing Mr. Khamis, Siti decided to live single. Perhaps she feared if
she were remarried probably her new husband could deprive her of her
happiness in singing due to jealousy. That was it. Many appeared proposing
marriage or casual love affair, but she turned down all of them. She totally
closed the door of marriage and she guarded her chastity and respect for her
work. She was afraid of entering into sexual relationship in fear of losing
interaction and communication between her and her fans. That was the only
reason that made her decide to live in celibacy.
Mama Siti was an artist, but she kept good examples of respect and
discipline, things that made her shine in her day to day decisions
concerning her life. In her life time she divided her life into two parts: on one
hand she enjoyed worldly luxuries and comforts, and on the other hand she
was a religious woman, praying and fasting. Humour and love to society led
her society to accept, to receive, to love and to glorify her.
Death of Bi Siti binti Saad in 1950 left deep sorrow and a wide gap among
many people, not only to her relatives and kinsmen, but also to all taarab
fans and admirers. Her funeral was attended by a mass of people from all
corners of Unguja and Pemba islands, and also fans from Kenya, Uganda
and Tanganyika. She was buried in Zanzibar town at Rahaleo cemetery,
following the request from her fans and her admirers. Mama Siti left one
daughter, one grandson and her sisters, Bi Mharami and Bi Baya, and
grand grandchildren.
For a long time after her death, people came from various places to visit her
tomb and pray for her. Her art and her work continue to be implemented by
female and male artists. Her grand-grand-son, Haji Mohamed Omar, is a
singer and a player of various musical instruments as well as a poet and
composer of taarab songs. There is also her grand-grand-daughter,
Mharami; many people hope that she will carry the flag of her grand-grandmother. Mharami has not only inherited the name of her grand-grandmother, but she also resembles Bi Siti in appearance, physique, colour and
even tenor of her voice. Something that gives more hope is that she is also a
good composer of taarab songs.
There is no specific memorial for Mama Siti, except that the Tanzania Media
Women Association (TAMWA) established a periodical titled Sauti ya Siti in
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her honour. Her co-artists have not yet set any memorial to honour her as a
mother of taarab artists (the Taarab Queen).
Mama Siti left a small house to her family. This is the house in which the
late Shaaban Robert went to meet her. The house still exists after being
repaired by her family which still lives in it. Siti did not return to Kidutani,
Fumba to live there, possibly because she had already migrated from there
and she was then accustomed to urban life. But she always visited her
relatives, sisters and she took her grandson, Mr. Mohamed Omar, since he
was a child to live with her in town. Later he was her escort wherever she
went, be it to the village, to the coast and even to the mainland.
Were it possible to analyze all her songs and collect all the vocabulary in
them, today we could have a good dictionary with words which perhaps
would help in the art of composing songs in the present time. Possibly we
would have returned the dignity of songs through using words that conceal
their meaning and which make a person to search for their connotation. It is
saddening to see our modern singers do not use metaphoric language as it
is natural for Kiswahili language which sets a riddle to a listener. In that
lies the flavor of the taarab song.
Siti has opened the doors of developing this art. She set a right track
through her examples in doing that work despite a number of difficulties
present during her time. Now it is upon us as artists to ask ourselves what
we have done or what we should do to commemorate her.
Examining and weighing all that was accomplished by Bi Siti, we shall agree
that we are duty bound to honour her in all possible ways for all that she
had done and left to us as a blueprint on our everyday lives. Binti Saad, the
daughter of pot maker became a taarab queen who dominated the king’s
palace of Queen Maatuka by her songs.
THANKS
THE END
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Taarab music fans owe much to this legendary singer Siti binti
Saad, a Zanzibar native, who in her life time and afterwards,
has been known as the Queen of Taarab. This Queen took the
music taarab and gave it a new image, carrying it to the
international status. Despite the fact that many taarab singers
have come and gone, there has been no one among them who
climbed to the pick at which Siti reached.
The late Shaaban Robert, who also had unique endowment in the field of Kiswahili
poetry, admired her singing and cherished Siti’s development to the extent of
writing a book about her life. The book titled Wasifu wa Siti binti Saad is the one
that drew a real picture of Siti binti Saad for the first time, as it was known the by
those who adored her and who wanted to keep her memorial for the benefit of
future generations.
Siti started her life in humble setting; in the state of dire poverty, and was faced
with many hitches that could prevent and totally crush hopes of majority of
ordinary women. It was not like that to Siti. She cried, while moving forward step
by step against any kind of barriers, succeeding to proceed forward. Siti binti Saad
deserves an honorary status in the history of women liberation struggle in East
Africa, for not ceasing in defending African culture. When Siti’s star began to
shine, there was nobody who could restrain her; neither Queen Maatuka binti Ali
bin Hamoud nor any other person.
“Siti binti Saad is a ‘lamp’ that illuminates our vision, our ingenuity and our
capability in propagating our culture”. That is what His Excellency, Ali Hassan
Mwinyi, the Second Phase President of the United Republic of Tanzania, says about
Siti.
Bibi Nasra M. Hilal, the author of this book lives at Malindi, in Zanzibar Town. She
had been a radio announcer for 27 years, working for Radio Tanzania Zanzibar.
She has conducted research on women of different tribes who had lived in Zanzibar
Town, leaving their footprints on traditions, culture and arts. Currently he is on the
point of completing compilation of other two books. In addition to writing Bibi
Nasra is a freelance film producer of five short films, all of them in Kiswahili
ISBN 978 – 9987 – 449 – 46 – 0
Mkuki na Nyota Publisher Ltd
P. O. Box 4246
Dar es Salaam
Tanzania
www.mkukinanyota.com
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