Vol. 33 No. 2 (2024): Nordic Journal of African Studies
Special Issue: Time and Imagined Futures in Eastern African Art Forms, edited by Alex Perullo, Claudia Böhme, and Christina Woolner

Memories of Failed Futures: The Autobiography of Nicco ye Mbajo (1950–2021), a Popular Artist in Tanzania

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Uta Reuster-Jahn
University of Hamburg
DOI: https://doi.org/10.53228/njas.v33i2.1220

Published 2024-06-19

Keywords

  • autobiography,
  • Nicco ye Mbajo,
  • Swahili popular literature,
  • Kwaya music,
  • Ujamaa socialism,
  • cultural history of Tanzania
    • ...More
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How to Cite

Reuster-Jahn, U. (2024). Memories of Failed Futures: The Autobiography of Nicco ye Mbajo (1950–2021), a Popular Artist in Tanzania. Nordic Journal of African Studies, 33(2), 157–176. https://doi.org/10.53228/njas.v33i2.1220

Copyright (c) 2024 Uta Reuster-Jahn

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Abstract

The autobiography of Nicco ye Mbajo (1950–2021) provides insight into the life of an artist and his experiences as a cultural producer in Tanzania from independence to recent times. Belonging to the first generation of modern cultural producers, Mbajo contributed significantly to popular culture in Tanzania as a writer, magazine editor, illustrator, cartoonist, and choirmaster. In his autobiography, published in 2020, he reflects on his artistic career, which, as the title Laiti Ningelijua (‘If Only I Had Known’) signals, ultimately fell short of the potential he thought possible. The text offers Mbajo’s subjective view of the various, often contradictory cultural currents and social struggles related to the political project of decolonization, socialism, and “national culture” in post-independence Tanzania. Through reading Mbajo’s autobiography and relating it to his other works, as well as drawing on interviews with the author, this article explores how he imagined his future as an artist in a society where there was neither a pre-established nor a legitimate place for independent artists. The informal production modes of popular culture in Tanzania allowed Mbajo to use diverse approaches and experimentation, while political restraints, financial hardships, lack of training opportunities, and breaches of trust inhibited his artistic progress and economic success. With his autobiography, the author leaves a legacy for future generations of artists in Tanzania to learn from and a rich source for the country’s cultural history.

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