And Sekou Kouyate, with his American counterpart Joe Driscoll, brought the house down with hip-hop-infused musical prowess.
Gambian Sona Jobarteh, the first female kora-playing griot (keeper of a people’s oral tradition), showed virtuosity fast reaching that of her predecessors, while Ugandan Joel Sebunjo’s stage presence kept the audience in awe. Some of the most memorable acts from the 2014 event included players of the West African kora (a 21-stringed harp). “There was a need to give a platform for many of the local talents, to showcase the amazing work they do.” Mahmoud’s team curates each year’s lineup to balance international performers with local and regional acts, aiming to celebrate the trailblazing vibrancy and diversity of contemporary African artists.
Today, Sauti za Busara (Swahili for “Sounds of Wisdom”) holds a reputation as “the friendliest festival on planet earth” for its welcoming, accommodating nature, as well as a significant showcase for East African musicians and African music. And to accommodate the growing crowds, the four-day event moved across the road to the Old Fort - scene of 17th-century Omani-Portuguese conflicts. But as word of the festival spread, the program evolved to embrace music from all Africans, including those from the African diaspora. So Mahmoud and his pioneering team erected the first Sauti stage in 2004, hosting primarily Zanzibari and Tanzanian musicians at the shoreside Forodhani Gardens. I felt that there was a need to give a platform for many of the local talents, to showcase the amazing work they do.” Reflecting on that time, Mahmoud says, “I was quite shocked to see most young people listening to foreign music from Europe and the USA. Sauti’s founding organizer, Yusuf Mahmoud, first visited the island in 1998 to curate the music and performance segment of the Zanzibar International Film Festival. This vibrant annual music festival held in Stone Town, Zanzibar, celebrated its 11th event this year, though its roots go back even further. Everyone is enthralled, and the Zanzibari air hangs thick with energy and sound.
Locals hip to his sound sing along, and even foreigners hurl back resounding responses to his calls. Jackie Kazimoto raps into the microphone in his right hand while using the one in his left as a wand, driving the at-capacity crowd into an ever-higher, almost supernatural frenzy.
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