Tanzanian Hip-Hop Icon Defends Nay wa Mitego in Censorship Dispute with Tanzanian Arts Council

By Adonis Byemelwa

Tanzanian hip-hop icon Seleman Msindi, popularly known as Afande Sele, has on 28^th September 2024, come forward to defend fellow artist Emmanuel Elibariki, aka Nay wa Mitego, amidst his ongoing dispute with the Tanzanian Arts Council (Basata) over his song "Nitasema."

 Nay wa Mitego is currently facing four legal charges due to the song’s content. However, Afande Sele argues that the song merely reflects societal concerns already voiced by many, including President Samia Suluhu Hassan.

Afande Sele expressed frustration with Basata’s selective enforcement of its policies, accusing the council of rewarding artists who produce vulgar content while penalizing those like Nay wa Mitego, who address important social issues such as corruption, injustice, and poverty. He called on Basata to stop acting as "chawa" (sycophants), and instead allow artists to speak truth to power without fear of censorship.

The veteran artist emphasized that hip-hop and Bongo Flava have long been platforms for highlighting social struggles, with artists playing a crucial role in raising awareness about the challenges faced by ordinary Tanzanians. According to Afande Sele, censorship stifles creativity and prevents musicians from contributing to meaningful national discourse.

The ongoing struggle between Nay wa Mitego and the Tanzanian Arts Council (BASATA) underscores a significant debate about artistic freedom and the role of music in social commentary within the Bongo Flava genre. After the controversial release of his politically charged song "Amkeni," which criticizes a contentious port deal with Dubai's DP World, Nay faced immediate repercussions. BASATA denied him a permit to perform, resulting in substantial financial losses for the artist.

In "Amkeni," Nay boldly addresses issues such as corruption and governmental accountability, rapping, “Everything is clear; your mother is protecting thieves,” and pointing out that taxes are being levied while loans are consistently taken. The track has amassed 1.8 million views on YouTube, resonating with many Tanzanians who share his frustrations. Yet, it has also drawn the ire of authorities, leading to its ban alongside other politically charged songs like "Wapo," "Alisema," "Mama," and "Tozo," which were similarly censored in previous years.

Nay wa Mitego’s predicament illustrates a broader issue of censorship in Tanzania's artistic landscape, where regulatory bodies often stifle dissenting voices. He articulated his stance during an interview with reporters, asserting, “I am not a politician; I am a musician. I chose to become the voice of the Tanzanians who do not have a voice.” His commitment to representing the everyday struggles of Tanzanians has positioned him at the forefront of a cultural clash with the authorities.

Legal experts, such as Mr. Fulgence Massawe from the Legal and Human Rights Centre (LHRC), have pointed out the need for independent oversight in cases like Nay's, criticizing BASATA's role as both accuser and judge. This incident adds to a troubling history for Nay wa Mitego, who previously faced arrest for his songs, including one that questioned the state of freedom of expression in Tanzania.

Basata, tasked with regulating the country’s arts and entertainment industry, has long faced criticism for its handling of artists who challenge societal norms or political structures. While the council claims to uphold public morals, critics like Afande Sele argue that its policies often stifle artistic freedom rather than fostering a culture of open expression. He pointed to his own experience with censorship, recalling his banned song “Bila Marekani,” which was ultimately appreciated abroad, as evidence of Basata’s flawed judgment in assessing the relevance and impact of music.

Afande Sele's defense of Nay wa Mitego signifies a crucial movement for regulatory bodies to recognize art as a vital instrument for social change, rather than silencing dissenting voices. The ongoing debate over censorship in Tanzanian music remains unresolved, with artists like Afande Sele advocating for a more liberated and inclusive artistic environment.

In light of these tensions, Dr. Kedmon Mapana, the Executive Secretary of Basata, recently addressed the council's approach to managing artists. He emphasized the importance of balancing creative expression with societal values, asserting that while artists have the right to free expression, their work should also align with the ethical standards expected by the public. However, the challenge lies in ensuring that these regulations do not stifle important conversations or the critical viewpoints that music can provide. The future of Tanzanian music may depend on this delicate balance, as artists and regulatory bodies navigate the complex relationship between creativity and accountability.