Some artists stormed the music scene with pomp, but have since calmed
down to the point of being anonymous. Some projects, too, face a similar
challenge. RICHARD CHIROMBO recounts some of the stories.
Munte Louis: Musician misunderstood!
His
goal was to turn everything human into gold. In the end, however, he
found that this quest for artificial perfection locked him into a barren
world of misunderstanding. That is the story of musician Munte Louis.
“I
don’t know why I am misunderstood. A good example of this misunderstanding
is my song, ‘Usandimenye Mnzanga’, which people re-titled ‘Undibwezere
Mavoti Anga’. That’s not what I intended the song to be; that song
is not political,” Louis once told me.
Louis
said people’s misconceptions might have granted the ruling elite reason
to interpret the song as the musings of a man whose temper was tinted
with the blood of partisan politics.
“That
is not the case, though, as, in ‘Usandimenye Mnzanga’, I retell
the story of a farmer who sat under a peach tree, and started admiring
his water melons and wondering why they (water melons) did not grow
on trees. It was my way of playing around with an ideal world. A world
in which human beings live in harmony with nature, and with each other.
An orderly world,” Louis said, adding:
“In
this ideal world, everything is in order. That is why a peach falls
from the tree but does not injure the farmer, prompting him to praise
the creator for letting water melons grow on the ground. That is why,
as we read in the scriptures, God saw that everything was good in the
beginning.”
But
maybe these misunderstandings signify the difference between working
with people’s sores and their souls. As a professional cobbler, Louis
has been working on people’s shoes for the better part of his adult
life, straightening wayward sores, without the slightest murmur from
the lifeless shoes!
Louis
has been satisfied in this cobbler world; a world that represents God’s
ideal world because what you see is what the manufacturer created.
That,
too, could be the folly of importing ‘ideal’ world scenarios into
the world of human beings— a world where what is given out may be
re-interpreted, misinterpreted, and, in some cases, distorted.
“May
be it is difficult to work with people. People interpret issues their
own way, selecting only what suits them. My song (Usandimenye Mnzanga)
is not political at all. But people interpreted it their own way,”
Louis said.
On
suggestions that he is not a natural musician, and that some people
just picked him from the streets and took him to the studio to provide
vocals for ‘Usandimenye Mnzanga’, Louis said there is no truth in
such claims.
“For
your own information, ‘Usandimenye Mnzanga’ is part of a 10 track
album that includes songs such as the title track ‘Tomorrow’, ‘Nthawi
ya Mango’, ‘Banja Langa Latha’, ‘A Neighbour’, ‘Dad’,
Uchitsiru Wanga’, ‘Yesu Wandigwira Dzanja’, ‘Mkwati’. They
[songs] address a number of issues that hinge on the human being, including
love,” Louis said.
‘Tomorrow’
was a combination of efforts by Ma Hot Mavembe Band. The late Chuma
Soko played the keyboards; Jack Kamwendo played the bass guitar; Dan
Sibale was on the saxophone; with Dan Louis, Louisa Louis and Munte
Louis offering the backing vocals.
The
soft-spoken artist perfected his art at Apostolic Faith Mission Church
in the early 1990s. He was a member of Mabvembe Choir, playing Acapella
music. He, then, used this experience to compose songs that he took
to the door steps of a number of would-be sponsors.
So
promising was the future that, according to the artist from Traditional
Authority Malemia in Nsanje, music distributor O.G. Issa pledged to
purchase 30, 000 copies of his ‘Tomorrow’ album.
“I
counted my fingers and the amount came to K600, 000 at the time. As
fate would have it, however, the music distributor changed his mind
at the last minute. It’s all because people, including the ruling
elite, misinterpreted my lyrics,” Louis said.
The
truth is that Louis said these things over three years ago. The future
was promising.
Today,
nothing, if anything, is heard of him in the music circles.
Is
it a case of another hot artist growing cold feet and leaving music
lovers in mid-air? If a decade passes without him coughing through another
song again, it may well be the case.
Elusive glory?
While artists such as Louis are yet to re-ignite their romance with
music through the composition of new sounds, others, such as Wambali
Mkandawire, are still in the limelight— but not for winning international
awards that came in droves at one point in their lives.
It is not an exaggeration to say Malawians still remember how Mkandawire’s debut international album,
‘Zani Muwone’, put Malawi on the international map between 2002
and 2003.
The album, an eclectic mix of Malawian, Congolese and West African
rhythms, saw Wambali being nominated for the Kora award in 2002. The year after, he won the Music Award for the Best African Artiste.
According
to www.instinctafricaine.com, “Wambali Mkandawire was first introduced to Malawian traditional
music and Congolese music by his grandparents who were working in Belgium
Congo, where he was born. When he was eight years old, his grandparents
returned to what was then Nyasaland.”
This
notwithstanding, Wambali nurtured his talent in Malawi, starting with
his stint with Pentagon Band in the late 1970s. The band later created
a niche by fusing rock with traditional music. This was before he joined
New Song, Youth for Christ Band, as one of the singers.
In
1988, Wambali recorded his first solo album with Krakatoa Music in Cape
Town, South Africa. During the same time, he recorded and toured with
‘Friends First’, a South African music group.
On
release of ‘Zani Muwone’ in 2002, Wambali was invited to perform
at the North Sea Jazz Festival held in Cape Town, South Africa, in 2002.
In August 2002, Wambali was awarded the World Intellectual Property
Organisation Award for Creativity, the first time this award was given
to an African artiste.
Not
that Wambali was the first to get international recognition. He is one
of the few that include Dr Daniel Kachamba, who was recognised in Germany,
where he went as a Mister but came back as a Doctor due to his prowess
in music. That’s what music can do; turn locals into international
celebrities.
However,
it has been over three years since Mkandawire won an international award;
meaning that he has work to do to reclaim what is truly his.
Long road to completion
Well, the
Blantyre Cultural Centre (BCC), formerly the French Cultural Centre
(FCC), is not a musician, but events there affect musicians and other
artists one way or another.
At
the centre of controversy is the timeframe set aside for the BCC renovations
project. The then Ministry of Tourism and Culture officials indicated,
in writing, that the project would take two years.
First
to question the rationale behind the time frame was the then Tourism
and Culture Minister, Moses Kunkuyu, but observers thought his sentiments
were political rhetoric.
“Two
years? Why two years? I thought the place is small, and the renovation
works could be completed within a reasonable time frame. Maybe this
is a sign that we need to change the way we do things, not only in the
arts but in tourism too. We should adopt the work ethic of efficiency
in carrying out development projects. Taking two years to renovate the
place could cost the government more,” Kunkuyu said at the time, adding:
“Are
we not talking of renovating grass-thatched structures, windows and
other things? Is it necessary to do that in two years? I thought it
was possible to do it within, say, six months. That’s what I am thinking.”
Well,
BCC renovations project started with promise. But the two years set
for project completion ‘came’ some two years ago.
This
is disadvantaging considering that BCC is centrally-located and people
from various parts of Blantyre find it convenient to get to the place.
In
addition, BCC normally offers lower rates since it was bought to further
the cause of artists in the country.
At
first, K200 million was set aside for the project, but, the project is one
of Cashgate victims, which means officials had to source funds from
elsewhere, and that led to delays.