In the early 1980s, despite facing economic struggles, Dar es Salaam, Tanzania’s coastal hub, became a vibrant center for live music. The city, with its population nearing one million, was still recovering from the effects of socialist Ujamaa policies and conflicts such as the 1979 war with Uganda. Yet, the night scene thrived with over 20 professional bands performing in local clubs, with “muziki wa dansi” (dance music) becoming a central cultural feature.
Congolese musicians, particularly from what was then Zaire, were drawn to Tanzania’s bustling clubs and hotels in the 1960s and 1970s. Some stayed, forming groups like Orchestre Maquis du Zaire and Orchestre Safari Sound. These bands, like many others, faced financial instability but helped redefine the Tanzanian music scene with their distinctive sound.
The album “Zanzibara 11: Congo in Dar, Dance No Sweat 1982-1986” (Buda Musique, 2024) highlights the Congolese influence, showcasing the bands’ intricate guitars, powerful brass sections, and catchy rhythms. Orchestre Maquis, known for their lively dance style “Kamanyola Bila Jasho” (“dance Kamanyola without sweating”), found financial success by embracing Ujamaa principles, acquiring land, and selling produce while registering as Orchestre Maquis Company (OMACO).
Orchestre Safari Sound, led by local contractor Hugo Kisima, also gained prominence in the 1980s. Combining musicians from Safaris Nkoy, the band became one of the top private groups, standing out among the state-supported acts that dominated Dar es Salaam’s nightclub scene. Together, these two Congolese bands played a significant role in shaping the city’s musical landscape during this transformative period.
