The stimulating, emotional folk song “Kutalang’i” has an intro that harps on the familiar with the characteristic Bukusu folk music music staccato rhythm of Litungu and Chisasi in uncomfortable harmony.
Kutalang`i is Lubukusu for the Lion King. Lions are symbols of strength and courage and have been celebrated throughout history for these traits. From the Kenyan court of arms to Rastafarian reference of Haile Selassie, the full mane lion is a common symbol for royalty and stateliness; hence the phrase ‘king of the jungle’. I suspect Ford Kenya chose the Lion for its party symbol with this in mind.
“Kutalang’i” is a Bukusu vernacular song that’s closer to the folk song style of the legendary Wasike W’Musungu than it is to the modern Bukusu pop sounds of the likes of Steve Kay and Jua Kali Boys Band. Kutalang’i, released in 2008, was done by the harmonious duo of Wanjala Okumu and Wanjala W`Mandari. But before we delve into the majesty of Kutalang’i, some house keeping issues first.
To prime you for this musical journey, you need to be familiar with some incredibly interesting aspects of Bukusu speak and culture. As you partake this little detour, think of it as a necessary inconvenience. Like washing your hands before dinning with elders. In this review of the music video to Kutalang’i we first illuminate some aspects of Bukusu culture on showcase in the visual composition of the song. Then we will delve into the oral literature aspects of this Okumu hit.
Kutalang’i The Song : What a Roller-coaster Ride
Now that we are now all on board, lets relish Wanjala W’Mandari’s Kutalang’i. Given that the song seeks to immortalize the passing on of Kutalang’i Micheal Kijana Wamalwa, it had to deliver. And deliver it did. So much so that listening to it reminded me of what must be the most riveting, heart wrenching 3 minutes that have ever come out of Hollywood. I talk of the death of Musafa in Disney’s critically acclaimed animation : Lion King
This clip right here is the scene that made Lion King – the second most grossing movie of all time. In 2016, Lion King was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant”. By my mother’s navel! I earnestly pray that whoever wins the battle of Chiunwa and becomes the next governor of Bungoma County* will spend our money doing such things: immortalizing our cultural icons like W’Mandari’s Kutalang’i
(*Update: Wycliffe Wangamati became the second governor of Bungoma after winning the 2017 elections)
Archiving and preserving Mulembe culture for our children’s prosperity and not wheelbarrows, ghost ‘diaries‘ or chopper rides. I digress but you get the point. Kutalang’i is the ‘Mufasa’ moment for the Bukusu community and at large the people of Mulembe. We will attempt to show you why, on certain planes, Kutalang’i deserves such high praise as the Lion King.
Parallels between the death of Musafa in Lion King & The fall of Kutalang’i Micheal Kijana Wamalwa
That Wamalwa Kijana was instrumental in the struggle to liberate the country from the KANU regime is in common domain. Wamalwa, together with Kibaki, and in spite of their age parity, were akin to Musafa and Simba, to not only the people of Mulembe but to Kenyans at large. Nothing lesser than the euphoria of NARC dream is testament to this.
But before NARC, there was the fractured Kenyan opposition fraught with lone wolf, almost pitiful attempts at attaining power. At the heart of these power plays within The play for power, was the FORD story. By the time Micheal Wamalwa Kijana and Musikari Kombo took center stage, all that remained of the mother opposition party, The Forum for Restoration of Democracy, FORD was a faction of a faction.
It is at this moment in history that Wanjala W’Mandari begins the story as told by Kutalang’i . W’Mandari’s intro to his most famous hit borrows from a stylistic device common in narrations rather than songs: dialogue. This dialogue, that forms the body of the song’s intro, a character by the mane Nikola is called out and asked if he as heard of a fellow by the name ‘Askari Kombo’.
In reference to Musikari Kombo the former Webuye MP who was elected by Ford Kenya delegates to succeed Wamalwa Kijana as party leader upon the demise of the former Vice-President. Nikola affirms that indeed it is Askari Kombo who now holds the tool of power in Ford Kenya. Nikola’s ensuing monologue informs the listener that Ford Kenya and indeed all people of Mulembe now look up to Musikari Kombo for leadership.
Nikola also urges the community to work with Mwai Kibaki in order to partake the national cake and that the people of Mulembe should not to despair.
Dirge
At this point , it is fair enough to dismiss Kutalang’i as just another cheap tool for rhetoric for politicians in their eternal narcissistic self-promotion. A song in praise of a faction within a faction . But then. Without warning, Nikola lets out a yell! The kind of bawl let out when mourning a departed loved one. The kind of deep bawl from the darkest nooks and crannies of a heart shattered with grief, much in the manner that Raila Odinga let out when mourning Otieno Kajwang’.
For all the transient pretense of Nikola that all is well, Kutalang`i is a dirge. It’s a patriot’s song. It is that song that serves as a release after losing a gallant soldier in war. It is melancholy. Lion King level of damned grief of a brutal unexpected death. Like when Musafa dies in the hands of his own brother after battling gallantly to save the life of his son.
Yet, instead of being overcome with sadness when listening to Kutalang’i, the listener’s hair stands on edge when listening to it. When I first took in the majesty of the song, a few tear drops escaped my eyes. Then I choked with anger almost insidiously, it hit me what “WE” the people of Mulembe, abandu be` bulala, lost with the death of Micheal Wamalwa Kijana.
But as Wanjala’s piece reminds us, this pain that eats up the stomach and pierces the heart did not start with the fall of Omuengele Katulang’i. Kutalang’i traces backwards to the genesis of this anguishing journey. Kutalang’i narrates to us how WE the people of Mulembe had sat down. Consulted. Discussed. And agreed one Masinde W’Makinia as our Lion King.
Masinde Muliro ran well, prepared a MEAL but just about when he was to serve us, he fell. After his burial, Mulufu (a ceremony held three days after burial for settling any issues of the dead had with the living) Litungu was brought to talk to us.
How Omuengele Became Kutalang`i
The litungu told us that in Omuengele, we had a new Lion King. Omuengele ran very fast. He was so good that even people overseas wanted to feel his majesty. And so he went overseas after taking over Ford Kenya leadership. On his return, Omuengele constructed as small semi permanent shelter –Khanyenya- for the community to take cover during storms. Then as if scorned by this action, came a big storm right after constructing Khanyenya.
Judah is a lion’s whelp; From the prey, my son, you have gone up He couches, he lies down as a lion, And as a lion, who dares rouse him up?
With the community sheltered, our warriors- Musikari Kombo, Bifwoli Wakoli, Noah Wekesa, Mukhisa Kituyi, Wafula Wamuniynyi, Moses Wetangula– had set out to go raiding. When they returned, just like W’Makinia before him, Omuengele had also slept never to wake right after preparing a MEAL for his cubs.
The Short Reign of W’Nasipwondi Kutalang`i
Yet again the people of Mulembe mourned. Litungu was again consulted and he gave us Askari W’Nasipwondi the Katulang’i . It would be an understatement to say that Katulang’i by Wanjala waxes lyrical on why Musikari Kombo was picked to replace Wamalwa Kijana.
This is because in Kutalang’i, W`Mandari takes his time to introduce Musikari Kombo. His amplifier, the quintessentially Bukusu music high tempo hit, the listener gets to meet Kombo W’Nasipwondi. Musikari Kombo the rainmaker. The one who will be buried while seated. The son of Balunda clan.
This characteristic pompous introduction is the bit that makes me jealous of Balunda clan. Anyone would be jealous of the way the Balunda carry themselves with African pride and dignity. A majesty that echoes Nobel Laurete :
You cannot enslave a mind that knows itself. That values itself. That understands itself.
Wangari Maathai
The Balunda have that something about themselves. They are the rain makers. Those who bury themselves while seated on thrones. The peacocks. The showmen. Thinking of it, to be rainmaker (If Naija movies are anything to go by) you had to be able to pull put up a show.
A Balunda man will proudly describe himself as Omusila Matakho: those without buttocks. But fool you not, that man not blessed with gluteaus maximus, will swiftly steal your woman if given the chance. Such is their comfort in their being. Such is their gift in garb. Take Musikari Kombo for instance. Here is a man who will regale you with stories of his boyhood grazing cattle.
I assure you that his version is nothing like you’ve heard from your parents or experienced. It’s just that.
It won’t be unbelievable, neither will it be easy to smell a lie in it. I guarantee that at times you will wonder why the story, why am I being told all this, but you wont drift off. You’ll keep on listening.
Imagine it this way: Say, one time ODM Sirisia parliamentary aspirant, the flamboyant Moses Nandalawe aka Mr Money bags, was a short story. What would you make of the story? Believable? A work of fiction? It is just that. It is the Balunda magic. But now, the Musikari Kombo version.
In Katulang’i Kombo is adorned with praise. He is asked to rise above petty politics and unite the community. Kombo is to bring back Nalulingo-Luhya pride. Katulang’i implores on Mulembe nation to be like the foot and the footpath. To be like the bees. To be united.
Kutalang`i the Warrior Song
As we had intimated earlier,the song Katulang’i is like supu na bofulo. Things that shouldn’t go together but do. This Bukusu vernacular classic perfectly juxtaposes four emotions that clash like a sensitive tooth with an irritant: heart wrenching pain, anger and nostalgia all in one pot, topped off with that feeling of raring to go.
We are ushered to the song’s climax via a change of tone. From melancholy to warrior mode, W`Mandari sets the stage to celebrate and charge Mulembe nation leaders.
Marvel at this mastery in execution: .
First, he starts off with his voice in minor Key, sounding beaten and dejected as he grieves Kijana Wamalwa and Masinde Muliro.
He then calls Wamalwa a Katulang’i (Lion King) “even when he slept, he is a lion.”
” Masinde Muliro is also a lion even in his death, he is a lion! ” He goes on.
“Kombo is a lion, taking the lead of the community, he is the big lion !”
” Mukhisa son of Kimilili is a lion!”
” Noah Wekesa of Kwanza is a lion! “
” Wamunyinyi of Kanduyi is a lion !”
” Wakoli of Bumula is a lion !”
” Newton Kulundu of Lurambi is a lion! “
He calls all other Luhya leader lions who are out hunting led by Kombo
Katulang’i is a great composition worthy of a treatment similar to that of the Lion King. Kutalang’i is a worthwhile production pregnant with message.
The question remains, if Litungu were to speak to us the people of Mulembe again today, what would it say? Who would be the Katulang’i ?
