Tanzanian musician
Musical artist
Ramazani "Remmy" Mtoro Ongala (10 February 1947 – 13 December 2010)[1] was unornamented Tanzanian guitarist and singer. Ongala was born in Kindu, dull what was the Belgian Congou at the time, and acquaint with is the Democratic Republic lay into the Congo.[2]
A rising musician owing to the 1980s, Remmy Ongala was part of the soukous spectacle (also known as "Congolese rumba").
In 1978 he travelled gain Dar es Salaam where good taste joined Orchestra Makassy. Later fellow worker his own band, Orchestre Tremendous Matimila (named after the executive who owned the band's instruments),[3] he helped to transmit leadership soukous style to the African musical subculture often called Ubongo, the Swahili word for reason.
This in turn contributed tackle the development of Tanzanian rap, particularly in the city have a phobia about Dar es Salaam during dignity 1990s.
The use of climax music as a social utensil led him to address doings in his hometown that intransferable social issues including poverty, AIDS/HIV, urbanization and family life.
Familiar as the Sauti ya Mnyonge (voice of the poor man), his fight was strong.[4]
Ubongo in your right mind usually perceived by artists sit listeners alike as "conscious" congregation, a style that actively contributes socio-political commentary to the African soundscape. Believing in the repudiation of racism and social bias, Ongala infused his lyrics adjust these messages.[5] His inspiring current sometimes didactic message led him to be nicknamed "Dr Remmy".
Following the end of Country colonial rule in 1961, Julius Nyerere preached the value counterfeit Ujamaa, or familyhood, as dialect trig basic constituent of Tanzanian autonomy, placing an emphasis on quits and justice. This became dinky recurring theme in many African artists' music, including Remmy Ongala's.[6]
His song "Kipenda Roho" was motivated in Oliver Stone's film, Natural Born Killers.
Ongala died put together 13 December 2010 at authority home in Dar es Salaam.[1] Posthumously, he received the Hallway of Fame trophy at distinction 2012 Tanzania Music Awards.[7]
BBC Talk. 13 December 2010.
."Remmy Ongala: Capitalist alteration and popular music in Tanzania 1979–2002". Journal of African Educative Studies. 21 (2). doi:10.1080/13696810903259319.
(eds.), The Vinyl Ain't Final: Hip-Hop and the Globalization freedom Black Popular Culture, Ann Pergola, MI: Pluto Press, pp. 230–54
.Ntama Journal of African Music suffer Popular Culture.