You are currently viewing “Music as a bridge to connect people to their land, traditions and collective experiences” — An Interview with Kenyan-based Musician Udulele 

“Music as a bridge to connect people to their land, traditions and collective experiences” — An Interview with Kenyan-based Musician Udulele 

The following interview was conducted by Nicolas Dojman on behalf of WorldWide Musicians United

Because of a contest, I recently had the opportunity of participating in the preselection of a series of experimental musical works from various countries around the world. When I saw that there were pieces from, say, the Middle East, various African countries, my own Latin America and countries from Far East Asia, I immediately jumped at them, thinking I would find something particular there (rhythms, scales, keys, timbres, instruments), but I was surprised to find few elements, at least from my perspective as a far-away listener, that seemed to evoke anything particularly ‘local’ in nature. Do you think there is an increasingly growing standardization of local, ethnic and popular music? What is your position on this issue?
 
Over time, the standardization of popular, ethnic, and local music has expanded and changed. Globalization and technical developments have occasionally resulted in a degree of standardization, when particular aspects of music —like song structures or production methods— have become more universal across genres and geographical areas. This can cause some traditional or regional musical forms to lose their diversity and individuality. It is important to remember, nevertheless, that standardization does not always mean that cultural authenticity is completely erased. Rather, it frequently signifies a development or blending of musical genres, impacted by several elements such as intercultural cooperation, innovations in technology, and shifting tastes of the listenership. In my opinion, standardization can make music more accessible and visible to a larger audience, but it’s also important to maintain the uniqueness and diversity of regional and ethnic music. Striking a balance between appreciating and preserving the rich cultural legacy and distinctiveness of traditional music genres and welcoming innovation and technical breakthroughs is crucial. The preservation of cultural identities can coexist with innovation and collaboration, guaranteeing a dynamic and varied musical landscape.
 

You have been working at the crossroads of music, cultural heritage and Kenyan rhythms and sounds, as well as the intersection of indigenous sounds, nature, people, cultural stories, and science. What relationship, do you think, exists between music, landscape and territory? What is essentially Kenyan in this mixture of elements?

Music, territory, and geography all have complex and highly entwined relationships. A region’s cultural, physical, and historical features are frequently reflected in music, which helps to create a unique sound identity that both the people and the environment can relate to. An excellent illustration lies within my songs on the recent EP titled Ololokwe. Mount Ololokwe stands as an iconic symbol for the Samburu people, deeply intertwined with their ancestral heritage. In the musical context, it serves as a bridge connecting people to their land, preserving traditions, and reflecting the collective experiences of this specific community. This amalgamation of elements forms a distinctive identity that resonates as authentically Kenyan, echoing the nation’s diverse cultural tapestry, landscapes, and histories.

Sound and touch are two closely connected senses. For example, we cannot hear very low sounds (below 20 Hz), but we can sense them as vibrations in our bones and skin. That is, music and the human body are intimately linked. What is, in your opinion, the healing power of music and what could you say about this connection?

Music has the ability to cure because it has a deep link to the human body that goes beyond just aural awareness. Music resonates on a physical level with us and goes beyond what we typically think of as sound. Even the inaudible vibrations from music caress our skin and bones, forming a close connection between tune and body. This relationship is therapeutic rather than just amusing. It is amazing how music can heal, uplift, and comfort. It can raise feelings that are ingrained in us, reduce stress, and quiet a racing heartbeat. These vibrations align with our internal cycles, fostering calmness and a feeling of wellness.

How did you start your music career as an independent musician and what advice would you give to young Kenyan musicians who have a lot of potential but who do not find it easy to access commercial distribution networks?

My musical career began in 2009, but I had no prior experience or expertise—just a desire to learn. I started and played in a number of bands throughout Nairobi for a while, but owing to group dynamics, many of the groups were unable to survive. As a result, in 2018 I started a solo career, primarily writing my own songs and starting new projects. Advice to younger musicians: everyone has a different path to take, never feel like you’ve failed because you’ve not had a commercial breakthrough. Instead, stay true to your path and use technology to help you create an impact on the community you want to serve.

What connections exist between Kenya’s music scene and that of its neighboring countries? Are there cross-border musical collaborations and links that can be considered permanent or are there cultural, ethnic or language barriers that make working together difficult?

Kenya’s music scene has complex ties to that of its neighboring nations, encouraging cross-border cooperation as well as distinctive musical ties. There is a vibrant musical interconnectedness throughout the East African region, which includes Kenya, Tanzania, Uganda, Rwanda, and other countries.
International collaborations are not unusual. To promote a sense of community and musical interchange, artists frequently collaborate on projects, perform live, and produce music together. These cross-border partnerships enable musicians to combine various musical genres, tongues, and cultural components, enhancing the local music landscape.

Even though these partnerships are successful, there are still some obstacles. There are occasions when language barriers make it difficult to compose music that appeals to everyone in the area. Furthermore, different cultural quirks and creative styles may occasionally provide challenges to smooth cooperation.

Do you plan to continue working on the mixture between music, sounds of nature, local rhythms and the indigenous worldview?

Without a doubt, incorporating music, ambient noise from nature, regional rhythms, and indigenous viewpoints has been extremely beneficial to my creative process. A truly authentic and rich musical expression is made possible by this fusion, which encapsulates a profound connection to cultural heritage, the environment, and traditional rhythms. A deeper connection to our surroundings is fostered by the use of natural sounds in music, which also adds a distinctive texture and pays homage to the environment. My creative process is based on local rhythms and indigenous worldviews, which provide a wealth of varied musical elements that represent the customs and cultural tapestry. I’m committed to carrying out this investigation going forward and fusing these components to produce music that has genuine resonance and significance.

What is the next musical project you have in mind?

Presently engaged in collaborative projects with diverse talents across Kenya and internationally. Additionally, finalizing the Ololokwe EP Album Pt. 2, scheduled for completion. Come February 2024, initiating Soulful Benga Vol. 2 with Sjef Rolet, part of Umoja—a Netherlands-based duo known for reworking Benga music and various tropical African genres.

Suppose the reader has no notion of Kenyan music and yet is very interested in researching and learning more about its origins, its outstanding performers and composers and the most interesting and original exponents of its rich musical culture. Let’s say you are asked to come up with a list. Who should we listen to, in order to have a comprehensive, thorough and complete approach to Kenyan music today and yesterday?

Winyo, Kwame Rigii, Labdi, Liboi, Mutinda, Jose Langa, Emma Jalamo, Lemarti, Fadhilee Itulya, and many more.

Where can you find Udulele’s work online?
You can hear Soulful Benga artist Udulele’s latest EP Ololokwe on your preferred music streaming service:

Follow Udulele on social media!

© WorldWide Musicians United, 2024