The politics — the allegory — of this libukusu folk hit by Wanjala Okumu can never be debunked without partaking of this ritual.
For the audience to flay through the layers of political speak in this classic, they are compelled to get intimate with its music video in all its glory — low-budget clip or not. This means that we must imbibe an unfettered prism at the music video to “Kutalang’i”: not only the stylistic aspects of the visual piece, but also dissect the literary play in the language of this folk song. Indeed, in our foray into nuances of the political message of “Kutalang’i” to the people of Mulembe, we recommended this little detour, likening it to the symbolic act of ‘washing hands’ before dining with elders.
Music Video to Kutalang’i: Mini Review
Admittedly, the music video to Kutalang’i is done in flyby Riverwood style. Nonetheless, to the cultured eye, the clip excels in shaking off the reek of a low budget Riverwood production thanks to a lethal punch concocted from an extravagant display of the richness of Bukusu culture. Consider that at the go, the viewer is ushered in by extravagantly adorned dancers in traditional Bukusu regalia. The likes of Likutu, Ekutwa, Kumukhinga kwe mboko, biyula and Bichenje.
The right costume determines the character, helps the actor feel who he is, and serves the story.
ColleEn Atwood
Costumes
Indeed, a good costume tells 99% of the story, but every worthy costume requires a fitting stage to shine. In the music video to Kutalang’i, the stage is set through shameless reincarnations of Bukusu shrines. Notably, heavy depiction of the river bank — a place of huge cultural significance to Mubukusu where the Bukusu traditionally offered sacrifices to the living dead, their fore fathers and Wele Khakaba — is telling.
It doesn’t end there though, the clip treats us to a sumptuous meal of Kamabeka kamasisimula from the agile dancers who serve as the main source of entertainment. As many have tried and miserably failed, pulling off the Kamabeka dance requires god endowed talent sharpened by painstakingly nurtured skill. Tell you what, if I was to count the number of people who can pull off Kamabeka kamasisimula effortlessly, it wouldn’t go beyond the digits of one hand. The reigning kings of Kamabekha have to be the Bakhone babewana Baala from Kabula, Kisondio of Sulwe FM, Kuka Dan of Webuye East, nende Takitari Omukikayi Namaswa.
Dr. Bonnie Khalwale the Eunwa ya Ikolomani gives it a good try, but he dare not share a stage with these masters.
A good music video ought cajole a song and seduce the viewer, riveting them to the body of the song, taking them to that place of beauty and clarity in the composers being that they tapped into as they wrote the song. A good music video ought sing to the deaf and communicate to those uninitiated in its language of expression. In its attempt at reaching this lofty ideal, the music video to Kutalang’i has another atypical trick up its sleeve.
The Kutalang’i Guide to Speaking the Bukusu way
One of the spare instances where the Bukusu way of life deviates from its heavy patrilineal constructs, is in it not being uncommon for a full Bukusu male — in a somewhat Spanish tradition– to identify/refer to themselves by their mothers’ maiden name. For example,in Kutalang’i, Masinde Muliro whose mother is Makinia, became Muliro W’Makinia. And Hon. Askari Kombo, son of Nasipwondi becomes Kombo W’Nasipwondi or simply W’Nasipwondi.
In Kutalang’i, W`Mandari not infrequently utilizes this linguistic style prevalent among the Bukusu.
Moreover, Bukusus also adopt the more common way of identifying persons by way of their clan. For instance, Micheal Kijana Wamalwa who comes from the infamous Omuengele clan is referred to as Omuengele Katulang’i . Meaning, (the) Omuengele (who is a) Lion. The other thing about Bukusu lingusitc constructs that Kutalang’i plays homage to is best explained by Boniface Munialo’ brilliant work on how Bukusu clans are known by their unique characteristics.
Therefore, it is not uncommon among the Bukusu to identify people by way of their clans’ known attributes/mannerisms or way of life. For instance, the children of an Omulako man would be named as Balako (ironmongers). The Bakhayama would be the meat lovers. The Baumba the potters and so on. Today, its not uncommon for a Bukusu to introduce themselves following the rules of this nomenclature. Thus, in keeping with this rich way of introducing oneself, a proper self introduction from an Omuyemba to be something like:
“Ese Omuyemba mukhayama, Mukangu, Mulomi.” Meaning that: “I am Omuyemba, the meat lover, tall and talkative .”
