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Fadhili William's legacy
Fadhili Williams legacy spans the whole of East Africa
By Duncan Mwanyumba
The Late Fadhili William (second from left) in a 1966 picture with some members of the Equator Sounds Band: Charles Sonko (Ugandan) - left; Nashil Pichen (Zambian) - second from right; and Peter Tsotsi (Zambian) - right. (Picture courtesy of East African Standard Ltd).
As the Nairobi Fadhili William Anniversary Organising Committee was preparing to hold the 1st anniversary since the death of the internationally-acclaimed Kenyan author/composer of the song 'Malaika'- who passed away at a Nairobi Hospital on 11th February 2001- a thought suddenly crossed my mind that I should call up Peter Colmore, the renowned 83-year old retired producer and entertainment icon (whom I had not yet met personally at the time), not only to extend an invitation but, also, to seek his help. Peter Colmore not only promptly accepted to attend the occasion, but, also, proceeded to give an interesting list of local and East African celebrities whom he felt should not be left out of such a memorial event. He gave out the names, for instance, of Mzee Pembe, Gedion Mwanyigha -formely of he Police Band and the Father of Sheila Mwanyigha of Kiss FM- and, also, Ally Sykes-the President of the All Africa Travel & Tourism Association, etc.
Although I had not, similarly, met Mzee Ally Sykes before, I was equally surprised to obtain the latter's prompt acceptance, over the telephone, of the invitation to the Grand Regency Hotel, Nairobi, on mentioning the late Fadhili William's name. He had known both the late Fundi Konde and Fadhili William in the 1940s and 1950s, in Army and entertainment circles, respectively. Such has been the spontaneous and overwhelming outpouring of support that has characterized the crusade to promote Fadhili William's rich musical and cultural legacy as well as those of his East African peers.
A talent scout
On the legendary Peter Colmore himself-I gathered from him that he had virtually stamped the whole of East and Central Africa from the late 1940s as a music talent scout; he is easily credited with developing the music careers of artistes like John Bosco Mwenda and,Edward Massengo both of whom he had fished out of the Belgian and French Congo. He observed that in those days, unlike nowadays, music promoters were multi-cultural 'think-tanks' who would endeavour to bring artistes and musicians together from across the African Continent. It is not surprising therefore that he succeeded in bringing together under one roof a motley company of artistes such as Athman 'Kipanga', Edward Massengo, Franck Humplick, Fadhili William-then of the famous Jambo Boys Band -in the 'East African Railways & Harbours Showboat Programme' of which he was the producer in 1959/60.The Programme's records and pictures are still well-kept in the Kenya Railways Archives from which we stand to benefit.
Professional lobby
The Late Fadhili William (left), in pensive mood during a negotiation session. He is accompanied by his Legal Counsel, Duncan Mwanyumba. (Photo by John Prospero)
The ensuing invitations for Fadhili's 1st anniversary not only netted in a representative of the Kenyan Attorney-General on copyright, Martha Maina, but, also, the Chairperson of the Law Society of Kenya, Miss Raychelle Omamo! Although some emphasis was placed on inviting Fadhili's peers as demonstrated indirectly by the presence of the children of Daudi Kabaka-David and Mary, the desire was, more importantly, however, to sensitise the copyright authorities on the general plight of local musicians and their dependant families.
In my view, the copyright issue is rendered more critical, from the economic standpoint, by the fact that whereas many foreign (western) artistes supplement their incomes from other incidental activities such as film-acting and can therefore afford not to actively pursue their own copyright protection, their East African counterparts, however, barely survive even from their own original compositions, let alone the filming industry, as the latter industry is barely existing in the region.
The aim of Fadhili William memorial trophy
It was not, however, until the Fadhili William Trophy that I have personally donated in perpetual memory of the late icon reached the hands of the Kenyan Minister for Education, Henry Kosgey in the latter's Jogoo House Boardroom on 30th July 2002, that the public message began to sink in: Inculcating a culture that recognises artistes and musicians during their lifetime-away from a culture that merely waits to euologise them after their death! The Fadhili William Trophy was donated for the purpose of identifying and promoting young East African artistes and musicians of outstanding talent and promise to compose original songs in the multi-ethnic Kiswahili language; in addition, it is intended thereby to increase local awareness of original composers' legal rights.
The East African Community
As I came to Tanzania over a year ago, I was determined not to leave behind in Kenya my ideals for a respected music profession and clientele. I will be forgiven for believing, that, the spirit of Fadhili William could draw out and lift up the voices of young talents beyond the annual Kenya Schools and Colleges Music Festival at which the William Trophy was floated.
This is how the decision therefore to host the three deceased musicians 'photo Exhibitions here in Arusha-Fadhili William (Kenya), Mbaraka Mwinshehe (Tanzania) and, Philley Lutaaya (Uganda)-reached after much consultation and building of consensus, was born However, I must confess to my initial loud personal curiosity for the late renowned Tanzanian crooner Marijani Rajab who is still revered both in Tanzania and Kenya; The problem with him, however, was more to do with protocol than anything else, as Mbaraka Mwinshehe, whose music is still very popular, according to his official music distributors-Tamasha Corporation Limited of Nairobi-was the elder of the two artistes.
The Malaika Concept
The Late Fadhili William in a joint performance of Malaika with Usha Uthup, an Indian international singer, at the International Casino, Nairobi in the late 70's. (Courtesy of E.A. Standard Ltd)
It is only logical that in celebrating the life and music times of Fadhili William in Arusha, through photographs, music, and dances, the 'Malaika Concept'-i.e, bringing people together, be invoked and expounded, thus: The song 'Malaika' itself is a tale of a man who so loves the 'angel' but is too poor to afford her dowry! In African tradition, such a suitor' would appeal for communal help to marry off the 'angel' The 'Malaika Concept' extends, however, beyond the personal beauty of the 'angel' to symbolise all that is good and beautiful in the African traditional context of shared values and social responsibilities .The 'Malaika Concept' can extend even to community peace and tranquility, which guarantees, that, individual dreams and aspirations are fulfilled through mutual help and co-operation as it does in the renowned Kenyan 'Harambee' spirit. The 'Malaika Concept' in this way, then, universally transcends all racial, ethnic, religious and/or cultural barriers. Finally, the 'Malaika Concept' envisages even reconciliation'-a peaceful encounter and co-existence between African traditional foes!
The Malaika festival
As Fadhili's legacy spans the whole of East Africa and beyond, the Arusha photo Exhibitions should serve also as the 'drum beat' to herald and publicise the impending 'Malaika Festival' in Nairobi, Kenya, with probable, simultaneous ripple effects in the three East African Capitals, respectively.
The Festival is now tentatively scheduled to be held from Tuesday 11th February 2003 i.e, Fadhili's 2nd anniversary, through to Sunday 16th February 2003. The Festival- a natural but, conscious progression from the foregoing series of programmed events- while paying ultimate tribute to Fadhili William and other fallen East African Music Heroes, is intended, also:
a) to show-case budding East African talents and b) to fuel the nascent public crusade to pursue and protect East African musicians' intellectual property rights with Fadhili William as the torchbearer.
Charity beneficiaries
In keeping with the above-mentioned universal ideal for the 'common good', and, in the promotion of their respective legacies, it is fitting that the proceeds of sale of these memorial events do benefit the following charitable causes, in order of priority:
a) Three Aids orphanages in Kenya, Uganda and Tanzania, respectively, since, aids is the single most devastating scourge now common to the three East African member-states;
b) the Special Olympic Movements for the mentally challenged in Kenya, Uganda and Tanzania, respectively, since, Fadhili William sang for and supported the Movement's Kenyan Chapter in 1998;
c) Music promotion and Education in East Africa.
Appeal to sponsors
Although Organisations whose objectives and ideals that promote 'the East African Community Spirit' are especially targeted in this appeal, others, too, in the East African spirit of 'Harambee' are, equally, welcome to donate to the designated charities through the appropriate Co-ordinating National Committees of the three East African member-states.
Duncan Mwanyumba is the Convenor of the Malaika Festival/Legal Counsel to the family of the late Fadhili William/Secretary to the Malaika-cum - E.A. Cultural Night, Arusha
