
I first began to suspect, when I saw Jamila in her glad rags ready to go, and I knew absolutely as soon as we arrived at the venue - that I was not so much understated as definitively under-dressed. The only place you would see so many sequins in the UK is on Strictly Come Dancing. This was our girls' night out - a Zanzibari Taarab evening. And girls' night out it certainly was: though the orchestra was all male as were 2 of the 4 singers, and most of the TV crew transmitting it live on Zanzibari TV, with the exception of a few husbands, the 500 strong audience were women of every age, though predominantly young girls in their mid to late teens and twenties.
Taarab is a sort of Arabic influenced singing very popular all along the East African coast, ( but not inland, it's very coastal Islamic Swahili). The singers are predominantly women, and they are backed by orchestras - I was sniffily informed that Dar has far more modern instruments in its Taarab bands than Zanzibar, but then Jamila doesn't have a high opinion of most things Zanzibari. In the band
I listened to there were 4 violinists, 2 drummers,2 keyboards, a double bass,an accordian, and musicians playing a qanum which is a 72 string flat zither,and an oud which is a pot bellied lute with a long neck with several strut things at the top (no problems with the right musical terminology there then).They were fronted by an MC who was the spit of Bill Cosby, right down to his laconic sense of timing.
The songs are usually love songs, but I'm told that they can also be used to send messages, both personal and political, in a flowery metaphorical way. Each song is very, very, long with many refrains - over the 2 hour period we were there we probably heard 6 or 7 in total. Even though I understood not a word of any of them, they were pleasantly mesmerising; I have heard snatches of Taarab previously on radio and TV, and on background tapes playing in shops (Tz musak),and wouldn't have said I was taken with it as a musical style, but actually as a live performance, I found it rather enjoyable. For the aficionados in the audience the songs were clearly well known and popular.
But what fascinated me, over anything, was the spectacle. The performance took place in the inner quadrangle of a local secondary school,which, with its two storeys of classrooms each opening out onto central balconies facing the grassed courtyard, reminded me of Chingola Secondary where I taught nearly 40 years ago. People were seated but not so closely that they could not easily leave their seats.
And all the women were dressed to the nines. The band was also very smart but the few men in the audience had clearly not made the same effort. The vast majority of girls and women in Stone Town in Zanzibar wear the buibui (a black coverall from head to toe which is drawn round the face) when in public. They are not always that strict - frequently bright clothing can be glimpsed underneath, and although the edges are usually decorated or heavily embroidered in black anyway, I saw some that were scalloped on the hems with gold or red thread. These clothing rules don't seem to apply for Taarab. There were very few buibui wearers and the only one who was also wearing the niqab as well, had on what I can only call a dress buibui - decorated with flames in heavy embroidery on the sleeves and back, and falling open from about the waist to show an eye dazzling sparkling flame coloured evening dress. Of those who didn't wear the buibui, only a couple wore black headscarves, the hijab; there were women (mostly older ones) wearing veils but these were glittering diaphanous numbers. For the majority, any veil would only have served to obscure their elaborate hair ornaments, their complex hairpieces, and their dangly earrings. And then, there were the dresses: many were elegant in cut, (though surprisingly revealing for modest muslim girls) but totally unrestrained in the vividness of colour or the number of sequins or glass beads embroidered onto them.
Now what's the point of having a decent party frock if no-one gets to see it? And Taarab makes sure that those dresses do get seen. The entry fee is 80p, not a lot when you think how many musicians have to be paid. Virtually nobody was buying cold drinks, so there wasn't much profit there. But there is a another source of income: at the end of each song, however much appreciated, there was only a scattering of applause, but appreciation had already been tangibly expressed during the performance. Both women and men, old and young, would walk up to the singer on the stage, and put a 500 shilling note (20p)in his or her hand all the way during the performance. The younger women made a great performance of this; the note, folded lengthways, held high above their head in two elegant fingers, they would sashay from their seats to the front of the stage, deposit it in the singers hand, do a wide turn - "hey, girls, get a real good look at this, and die of envy" - and sashay back down the central aisle. It couldn't have been bettered on a catwalk. At certain points in a song - Jamila said that these were the parts that were really popular -there was a regular traffic jam of young women, waiting to hand up their money and to be seen returning. Nor was the appreciation only expressed once in a song, although I do think the girl who went up 8 times during one singer's performance must have been
really keen on it, or him, (unlikely,as he was old enough to be her grandfather)or hadn't managed to show
all the good points in her outfit. The MC was kept very busy (in between doing standup at the end of each performance,) in changing larger notes for 500 shilingi ones, and running to the stage to empty the bucket into which the singers would drop handfuls of notes so that they were free to receive more from the fans. In the second half, which was requests I think, the younger women would all come forward shortly after the song began and congregate at the front of the stage swaying to the music, all holding up their 500 shilingi notes, though I did notice several were still in possession of their money as they swayed back to their seats at the end of the song.
What fascinated me was that these girls who should not expose their bodies to the gazes of males outside their family were not only doing so to those in the audience (and inevitably there were a few single lads looking in from outside the courtyard) but were also doing it for the whole of Zanzibar on TV. The girls were there with friends not their families. I couldn't get an answer from Jamila on that one. She did explain that only fiancees and wives could come to public performances like this; younger girls would only get to see live Taarab at wedding kitchen teas (which are all female parties and much more elaborate than the name suggests) , and at something she called Maulid which I think is a female coming of age ceremony. (However Maulid actually is the prophet's birthday so I may have got that bit wrong.)I was a bit surprised because many of the girls looked to be only about 14 or 15. They get married young in Zanzibar was her reply. In Dar which is much less strict in general about Muslim observance than Zanzibar, the restriction on non-affianced girls attending isn't really observed. She said that in Zanzibar, Taarab was the only public entertainment that a strict Muslim woman was permitted, and they look forward to it enormously, spending huge amounts on their outfits, which of course can only be worn a few times before everyone has seen it before.
The event finished at midnight, and we managed to get a lift back to the hotel in the taxi that Mama Salme, (the main singer) had had waiting. Jamila was completely tongue tied in the presence of this very imposing lady. I gather that she is a big name and I suppose it must have been something like sharing a taxi with -say- Madonna.
The next morning we were in the Swahili shopping area, as Jamila wanted to buy cosmetics and perfumes (which are better and much cheaper than in Dar). She bought udi, which she explained to me was very sweet smelling and was burned to fragrance the scarves and dresses that would be worn at a night out. It looked like minuscule capsules or grains and I thought it must be a form of solid like frankincense. I looked it up when I got back, and it is aloe wood. We were actually looking for a cobbler at the time to sew back the handle of Jamila's handbag but got distracted as happens.

When we were at the third perfume shop, I saw at the back some materials so we had to get the shopkeeper to bring them to the front counter so we could look at them and well, you know, when in Rome, and so I ended up with some. I must be mad. But I will get a fundi wa cherahani to make a dress and then I am definitely leaving it here - it's far too bright for English skies; completely Bollywood. Roll on the next wedding or perhaps another Taarab night! By the time the transaction was completed the heavens had opened and we were stranded as the road outside the shop turned within a couple of minutes into a very fast flowing stream, and rubbish of all sorts was being swept along it. Forty minutes later with no let up, and the water now coming right up to the step on which I was precariously perched on a stool wedged against the front counter, we began to worry about missing the ferry. With no thought for the child's safety, we dispatched an mtoto to the nearest point where there might be a taxi who would take the risk of his engine being flooded. Luckily there was - there always is - and as I contemplated crossing the gap to where the taxi had stopped, I had to balance the chance of losing my Dr Scholls in the flood, or going barefoot and possibly getting my material wet because I had too many things in my hands. The scholls took their chances!