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Fatuma binti Baraka (c. 1910 – 17 April 2013), popularly known as Bi Kidude, was a Tanzanian taarab singer from Zanzibar. She has been called the "queen of taarab and Unyago music" and was inspired by earlier taarab singer Siti binti Saad.

Key Information

For her contribution to world music and culture in Zanzibar, she received the 2005 WOMEX award and the Medal for Arts and Sports of Tanzania.

Life and career

[edit]

Born in the village of Kitumba in the modern-day Kati District of Unguja South Region and raised in the village of Mfagimaringo, Bi Kidude was the daughter of a coconut seller in colonial Zanzibar. Her exact date of birth is unknown and much of her life story is uncorroborated, but she is believed to have been the oldest touring singer in the world during her final active years.[1]

Bi Kidude was married and divorced twice. Having no children of her own, she took part in traditional Unyago coming-of-age ceremonies, where teenage girls receive social and sexual education. She became known by her nickname Bi Kidude (Swahili for "little grandmother"), because of her petite stature and as a polite form of addressing an older woman. In the course of her eventful life, she was active as a healer and knowledgeable about medicinal plants, a henna artist and, of course, a musician.[2]

Bi Kidude started singing when she was ten, and after having been forced into marriage at thirteen, she escaped to mainland Tanganyika.[3] There, she became a singer in various taarab groups in Dar es Salaam and other coastal cities. In the 1940s, she returned to Zanzibar and settled in the Shangani neighbourhood of Zanzibar's capital. She immersed herself in the styles of female-led taarab, whose outspoken lyrics metaphorically criticise men for their sexist behaviour. Gradually, she became a local celebrity but remained relatively unknown outside of Zanzibar for a long time.[4][5]

In the 1980s, she became nationally recognised through an appearance on television. With her rebellious behaviour, smoking in public and her refusal to observe the separation of men and women in society, she disregarded conservative social attitudes, which was described by many as "haram".[2]

For decades, the singer toured Zanzibar, singing her taarab songs in Swahili. Bi Kidude performed at countless ceremonies and festivals such as the Festival of the Dhow Countries, where she was often the main attraction. She travelled abroad with the Sahib El-Ahri Band and later with the Twinkling Stars, touring France, England, Scandinavia, the Middle East, Southeast Asia and Japan. She often performed on stage with the Culture Musical Club of Zanzibar, including some of the best taarab musicians from the island. Until shortly before her death, Bi Kidude appeared on several occasions at the Sauti za Busara festival in Zanzibar.[6][2]

Reception

[edit]

In 2005, Bi Kidude received the WOMEX award for her lifetime achievement and contribution to world music.[7] In 2011 she was nominated for the Tanzania Music Awards, and the following year, she was honoured with the Medal for Arts and Sports of Tanzania.[8] Further, she was the subject of two documentaries by British filmmaker Andrew Jones, titled As Old As My Tongue – The Myth and Life of Bi Kidude and I shot Bi Kidude.[9][10] In 2023, the BBC aired the podcast Bi Kidude: Zanzibar's 'golden grandmother of music'.[11]

Today's singeli musicians in Tanzania are taking inspiration from Bi Kidude's music, using pitched-up loops and Unyago rhythms, and breaking the rules, similar to Kidude herself.[2]

Awards and nominations

[edit]

Honours

[edit]
Order Country Year
Medal for Arts and Sports Tanzania 2012

Awards

[edit]
  • 2005 WOMEX world music award

Nominations

[edit]

Discography

[edit]
  • Zanzibar. RetroAfrique 1999
  • Zanzibara 4: The Diva of Zanzibari Music. Buda Music, 2007[12]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bi Kidude

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from Grokipedia
Fatuma binti Baraka (c. 1910 – 17 April 2013), known professionally as Bi Kidude, was a Zanzibari singer renowned for her powerful voice and enduring contributions to musical traditions. Born in Mfagimaringo, , she earned her nickname "Bi Kidude"—meaning "Little Granny" in —due to her petite stature, and rose to prominence as one of the first women to perform publicly in the conservative Muslim society of , challenging traditional veiling norms by singing unveiled on stage. Bi Kidude's career spanned over a century, during which she mastered —a genre fusing , Indian, and influences with poetic on , social issues, and daily life—and also engaged in unyago, traditional initiation songs for women that conveyed explicit teachings on sexuality and marriage, often deemed provocative. Her performances, characterized by a haunting, wailing vocal style, captivated audiences across East Africa and beyond, establishing her as Zanzibar's cultural ambassador and the "barefoot " of . Among her notable achievements, Bi Kidude received the WOMEX Lifetime Achievement Award in 2005 for her impact on and culture, and in 2012 was honored with Tanzania's for and by the president, recognizing her lifetime dedication to the arts. She was the subject of documentaries such as As Old as My Tongue: The Myth and Life of Bi Kidude, which explored her enigmatic life and legacy, though her exact birth date remains uncertain due to limited records from her era.

Early Life

Birth and Family Background

Bi Kidude, born Fatuma binti Baraka, entered the world circa 1910 in the village of Mfagimaringo on the island of , then part of the under influence. Her precise birth date is undocumented and uncertain, with Bi Kidude herself offering inconsistent recollections in later interviews, reflecting the limited record-keeping common in early 20th-century rural communities. She hailed from a working-class of modest means, with her father earning a livelihood as a coconut seller amid Zanzibar's agrarian economy dominated by clove plantations and coastal trade. Some accounts suggest the family initially resided in the nearby village of Kitumba before relocating to Mfagimaringo, underscoring the transient rural life typical of the era's subsistence households. This socioeconomic context, marked by colonial-era constraints on and opportunities for girls, shaped her early exposure to oral traditions rather than formal schooling, though specific details on her mother or siblings remain sparsely recorded in available biographical sources.

Cultural and Musical Influences in Zanzibar

Zanzibar's position as a key trading port during the late 19th and early 20th centuries created a cosmopolitan cultural milieu blending , Arab, Indian, Persian, and African elements, which deeply shaped local musical traditions. music, the dominant genre, originated around 1880 under Barghash bin Said's patronage, incorporating scales, Indian instrumental techniques like the and harmonium, African rhythmic patterns from coastal communities, and European orchestral structures introduced via colonial influences. This hybrid form emphasized Swahili poetic lyrics addressing love, morality, and , performed at weddings, festivals, and elite gatherings by ensembles such as the Ikhwan Safaa Musical Club, founded in 1905 as one of Zanzibar's earliest formalized groups. Instruments central to , including the , qanun, and , reflected these cross-cultural exchanges, with performances often held in the sultan's palace or private homes of Arab and Swahili elites. Bi Kidude, born Fatuma binti Baraka around 1910 in the Mfagimaringo neighborhood of , was exposed to this environment from childhood amid a society where music intertwined with Islamic festivals, ngoma drumming traditions, and in . Her early fascination with stemmed from street performances and radio broadcasts, which by the 1920s disseminated the genre across . A pivotal influence was Siti binti Saad, Zanzibar's trailblazing vocalist active from the 1920s until her death in 1930, whose recordings with Egyptian and local orchestras popularized female-led performances and challenged gender norms by singing of personal agency and romance. As a teenager fleeing an , Bi Kidude apprenticed under Siti, absorbing techniques for vocal (tarab, evoking emotional ) and drawn from poetry adapted to contexts.

Musical Career

Entry into Taarab (1920s–1940s)

Bi Kidude entered the taarab music scene in the 1920s as a child singer with local cultural troupes in Zanzibar's Mfagimaringo neighborhood, where she combined musical training with exposure to traditional practices. She received mentorship from Siti bint Saad, the pioneering Zanzibari taarab singer, learning many of her early songs from this influential figure who helped shift taarab lyrics toward Swahili expression. Her initial public performances included singing for Arab traders, often dressing as a barefoot sailor boy to navigate societal restrictions on women performers. Around age 13, circa 1923, Bi Kidude fled a in and relocated to mainland , joining a ensemble that toured , marking her professional entry into the genre. In the early , after escaping another , she traveled extensively on foot across before settling in , where she sang for several years with an Egyptian group, incorporating influences from that style into her repertoire. By the 1940s, Bi Kidude returned to , establishing a more stable base there while continuing her performances rooted in local traditions. This period solidified her foundational role in , blending Zanzibari elements with broader East African and Egyptian exposures gained through travel and collaboration.

Rise and Performances (1950s–1980s)

During the 1950s and 1960s, following Zanzibar's political upheavals including the 1964 revolution and merger with Tanganyika to form , Bi Kidude sustained a modest presence in local circles, performing at social clubs in Stone Town's Shangani quarter despite an earlier period of career spanning nearly five decades from . Her repertoire drew on traditional Swahili-Arabic influences, often addressing themes of love, social critique, and through bold that challenged patriarchal norms, though she remained largely obscure beyond Zanzibar's insular music scene. By the mid-1970s, Bi Kidude's career revived amid growing interest in authentic traditions, elevating her from local performer to a revered figure in East African music. This resurgence culminated in the 1980s, when, in her seventies, she collaborated with the El-Ahri Band and later the Twinkling Stars ensemble, resuming tours that extended to the , , , and . These performances, blending acoustic instruments like the , , and qanun with her distinctive, haunting vocal style, showcased 's poetic improvisation and drew audiences to venues in , , and Gulf states, marking her transition to wider acclaim while rooted in Zanzibari heritage.

Recordings and Collaborations

Bi Kidude's debut album, , was released in 1998 by RetroAfric, featuring her performances accompanied by The Twinkling Stars, a Zanzibar-based ensemble that included violinist and accordionist Mohamed Ilyas along with other traditional instrumentalists. This recording captured her and lyrics rooted in Zanzibari traditions, marking her introduction to international audiences after decades of local performances. Her second prominent album, Zanzibara 4: The Diva of Zanzibari Music, appeared in 2006 via Buda Musique (also released as Zanzibar, Africa: 50 Years of Music in some editions), showcasing and msondo tracks with varied ensembles including the Culture Musical Club, Taarab All Stars, and Afro-Arab Groove. These collaborations highlighted her versatility, blending acoustic string instruments like and with rhythmic percussion typical of . Earlier field recordings from the document her work with the women's taarab group El Arry, including five songs captured during sessions in organized by ethnomusicologists, emphasizing communal female vocal harmonies. Bi Kidude also contributed to compilation albums such as Taarab 3 and East African Legends Live, often alongside regional artists preserving coastal music styles. Her recordings, limited in number due to her emphasis on live traditions, underscore a career prioritizing oral transmission over commercial discography.

Unyago Tradition

Origins and Purpose of Unyago

Unyago originated as a pre-colonial educational tradition among Swahili-speaking communities in coastal , including , serving as an indigenous for girls transitioning from childhood to adulthood. This practice predates European colonial influences and Islamic expansions, rooted in communal efforts to transmit cultural and practical knowledge through oral rituals rather than formal institutions. Historical accounts indicate it was widespread in Tanzanian societies by the 19th century, with variations tied to ethnic and regional customs, such as those among the of island. The core purpose of is to educate and socialize pubescent girls—typically aged 12 to 15, following the onset of —on the realities of womanhood, including sexual , reproductive , marital duties, , and interpersonal relations with men and . Performed exclusively by elder women in secluded settings, the employs songs (nyimbo za unyago), dances, and metaphorical to convey explicit lessons on avoiding , pleasing a , managing , and navigating gender roles, often using coded language to address taboos directly yet symbolically. This preparation aims to ensure social stability, reduce risks like early or exploitation, and equip participants for lifelong female responsibilities in patrilineal society. While retaining pre-Islamic elements focused on and communal bonding, Unyago has incorporated Islamic moral frameworks post-Arab trade influences, emphasizing chastity and wifely obedience without supplanting its secular, experiential teachings. The rite's structure—spanning days or weeks of isolation, feasting, and tests of endurance—symbolically "buries" the girl's childhood identity, marking her eligibility for and adult status through communal validation. In Zanzibari contexts, it underscores intergenerational female solidarity, countering limited access to male-dominated public education by prioritizing embodied, women-centric .

Bi Kidude's Contributions and Performances

Bi Kidude served as a master instructor and performer in Zanzibar's unyago tradition, leading initiation rites for adolescent girls that emphasized education on womanhood, sexuality, and marital responsibilities through music, dance, and ritual drama. Her involvement deepened after personal experiences, including failed marriages and infertility, positioning her as a key figure in preparing Swahili women for adult life via these secretive women's ceremonies. As the island's preeminent exponent of unyago, she executed performances featuring group drumming, call-and-response singing, and dances that simulated conjugal relations, often culminating in mock weddings to impart practical knowledge on intimacy and household dynamics. These events, restricted to female participants, incorporated provocative lyrics challenging male dominance and promoting female agency, blending unyago's didactic songs with elements of music for rhythmic and melodic depth. Her contributions preserved the ritual amid modernization pressures in , training successive generations of women in practices while occasionally adapting them for broader cultural performances, though core ceremonies remained private. Bi Kidude's expertise extended her influence into her later decades, with documented participation into the , reinforcing unyago's role in cultural continuity despite external critiques of its explicit content.

Personal Life

Lifestyle and Societal Norms

Bi Kidude resided in a modest breeze-block house in Zanzibar's Shangani quarter, an upgrade from an earlier small clay or mud hut where she settled in the , sharing the space with members she referred to as "grandchildren" and their pigeons. Her daily existence remained grounded in simple, traditional routines, including preparing herbal remedies for local use and creating wanja—a black cosmetic paste mixed with —for intricate body designs applied during ceremonies, which supplemented her income. In a conservative Zanzibari society shaped by Arab-Muslim influences, where women were expected to observe —enforcing seclusion and modesty—Bi Kidude openly defied norms through public smoking of cigarettes and drinking of Konyagi gin, habits she pursued "for fun" into old age. Having fled a at age 13 and endured two divorces due to , she rejected confinement by traveling extensively on foot across and embracing public expressions of sensuality, such as straddling her drum and gyrating during performances, which challenged taboos on female visibility and pleasure. While rebelling against restrictive gender expectations, Bi Kidude adhered to certain traditions by participating in unyago initiation rites for adolescent girls, where she led rituals teaching marital roles, sexual knowledge, and resistance to oppression through music and , thereby occupying a revered yet unconventional position as a cultural educator and healer in her community. This duality—simple rootedness amid defiance—allowed her to live joyously without fear of aging or societal judgment, performing energetically past age 100 until health declined.

Relationships and Daily Existence

Bi Kidude, born Fatuma binti Baraka, escaped a arranged by her family at age 13, fleeing for mainland before embarking on travels across . She married twice after returning to but was divorced on both occasions due to her inability to conceive children. Childless throughout her life, she assumed a maternal role in initiation rituals, mentoring adolescent girls in cultural practices, which earned her the affectionate nickname "Bi Kidude" (Kiswahili for "Little Granny"), reflecting her diminutive stature and surrogate caregiving. In daily existence, she inhabited a modest clay house in Zanzibar's Shangani quarter of , adhering to a simple, tradition-bound lifestyle amid the island's coastal society. Her routine defied conservative Zanzibari norms through public and , habits that underscored her independent and nonconformist character in a patriarchal context. Toward her later years, she remained rooted in this unpretentious domestic setting, occasionally performing locally while sustaining ties to community elders and performers.

Recognition and Later Years

Domestic and International Acclaim

In , Bi Kidude was celebrated as a foundational artist in Taarab music and a key preserver of Zanzibari cultural traditions, earning her status as a national icon. Her domestic recognition included a nomination in 2011 for the Tanzania Music Awards in the categories of Best Collaboration and Best Traditional Song for her track Ahmada with Offsidetrick. In 2012, she received the Medal for Arts and Sports from the , honoring her lifelong contributions to the country's musical and cultural landscape. Bi Kidude's international acclaim peaked later in her career, particularly with the WOMEX Award for lifetime achievement in , presented on October 30, 2005, at the World Music Expo in , . This prestigious honor recognized her profound influence on and Zanzibari music, positioning her alongside global figures like in elevating East African traditions to worldwide audiences. The award facilitated increased global performances and recordings, underscoring her role as Zanzibar's most renowned cultural ambassador.

Awards and Honors

In 2005, Bi Kidude received the WOMEX Artist Award at the World Music Expo held in Newcastle/, , recognizing her lifetime contributions to and music as well as her role in preserving Zanzibari cultural traditions. The accolade highlighted her influence on despite her advanced age, positioning her as Zanzibar's foremost cultural ambassador. In 2012, the Government of bestowed upon her the for and Sports, a prestigious national honor awarded to individuals for exceptional achievements in artistic and athletic fields. This recognition affirmed her enduring impact on Tanzanian performing , particularly in promoting traditional musical forms.

Health Decline and Death (2000s–2013)

In her later years during the 2000s, Bi Kidude continued to perform music despite her advanced age, appearing in , , in 2006 and receiving international recognition such as the WOMEX award in 2005, which she followed with ongoing stage appearances. She demonstrated remarkable stamina, regularly performing with the Twinkling Stars group at Zanzibar hotels into the late 2000s, including documented shows in 2008 and 2009. By November 2012, however, Bi Kidude's health deteriorated sharply, leaving her bedridden at her nephew's home in Bububu, , , where she received home-based treatment for complications including urinary and bladder disorders exacerbated by advanced age. She battled these conditions for nearly a year, reflecting the cumulative toll of over a century of life marked by , alcohol use, and a demanding performance schedule. Bi Kidude died on April 17, , at approximately 102 or 103 years old, succumbing to the prolonged illness without public disclosure of a singular acute cause beyond age-related decline. Her passing was confirmed by local authorities in , where she had resided modestly amid family.

Reception and Impact

Critical Assessments

Bi Kidude's performances were lauded for their emotional depth and cultural authenticity, with critics highlighting her gravelly, emotive voice as a hallmark of Zanzibari musical tradition. The Guardian's obituary in 2013 described her vocal style as "haunting" and her stage presence as "enigmatic," emphasizing how she embodied the poetic introspection central to on love, betrayal, and social norms. Similarly, scholarly analyses position her as a key figure in linking modern to early 20th-century pioneers like Siti bint Saad, crediting her with reviving pre-revolutionary repertoires through live renditions and unyago ceremonies. Assessments of her technical contributions often praise her integration of traditional Swahili instrumentation—such as the , , and percussion—with improvisational flair, fostering taarab's ecstatic, audience-responsive quality derived from Arabic tarab (emotional transport). In for compilations like Zanzibara, Vol. 4: of Zanzibari Music (2005), producers noted her mastery in sustaining long melodic lines that evoked the Indian Ocean's syncretic influences, though some user-driven platforms like reflect mixed reception for specific recordings, averaging 2.9 out of 5 for her Zanzibar album based on 87 ratings, potentially due to production variances in archival transfers rather than artistic merit. Her songs, which explicitly addressed female sexuality and marital preparation, drew acclaim from cultural preservationists for empowering women against patriarchal silence but faced domestic backlash for their candidness, earning her both devotees and detractors in conservative i circles. Critiques of Bi Kidude's broader impact occasionally highlight tensions between her iconoclastic lifestyle—public smoking, drinking, and veil rejection—and taarab's purported decorum, with reports in framing her public singing without as " and so controversial," challenging Islamic modesty norms prevalent in early 20th-century . Later career controversies, including pressure to retire due to age and familial exploitation allegations during her 2012 illness, indirectly colored perceptions of her enduring relevance, though these did not diminish expert consensus on her foundational role in sustaining amid post-1964 disruptions. Overall, critical discourse underscores her as a defiant preserver of oral traditions over innovation, with limited formal deconstructions attributing any stylistic limitations to her reliance on rather than formal training.

Cultural and Musical Legacy

Bi Kidude's contributions to Taarab music solidified her status as the "Queen of Taarab and Unyago," genres fusing Swahili poetic traditions with Arabic, Indian, and African influences, which she performed and adapted over seven decades. Her recordings and live performances with ensembles like the Culture Musical Club preserved core elements of Zanzibari musical heritage while introducing provocative themes of sexuality and female empowerment, resonating through her distinctive, wailing vocal style that evoked physical responses in listeners. By performing publicly without a veil and touring to reinterpret songs of pioneer Siti binti Saad, Bi Kidude shattered conservative gender norms in Swahili society, enabling greater female participation in music and public expression. Her engagement with rituals—traditional initiations for adolescent girls—integrated cultural rites into her artistry, emphasizing maturity, pleasure, and autonomy in ways that challenged patriarchal taboos. Her enduring influence persists in contemporary Tanzanian music, where artists like Mim Suleiman cover and reinterpret her repertoire to sustain Taarab's relevance amid modern genres, propelling its evolution into new contexts. Bi Kidude's legacy extends to inspiring global recognition of East African musical traditions, with her work cited for revolutionizing Zanzibari output and fostering cross-cultural artistic innovation.

Criticisms and Debates

Bi Kidude's legendary status has been tempered by ongoing debates regarding the verifiability of her biographical details, particularly her birth year, which is commonly cited as circa 1910 but lacks documentary confirmation. Multiple accounts note that her exact date of birth remains unknown, with researchers unable to pinpoint it definitively even upon her death in 2013, when she was described as being "around 102." This uncertainty contributes to a mythical aura surrounding her life, as much of her early career narrative—spanning singing from the , escapes from arranged marriages, and formative influences—relies on oral histories and personal recollections rather than corroborated records. Her involvement in unyago initiation rituals, where she instructed young women on sexual matters, marital roles, and empowerment through drumming and song, has sparked controversy in Zanzibar's conservative Muslim society. These practices, while rooted in tradition, were viewed by some as provocative and subversive, challenging norms and ing customs, as Bi Kidude herself performed publicly without a veil from early in her career. Critics domestically questioned the propriety of such explicit teachings, seeing them as clashing with Islamic values, though supporters argue they preserved against modernization. In her later years, Bi Kidude faced criticism over her financial neglect despite international acclaim, performing at events like the Sauti za Busara festival while living in without adequate support from promoters or the Tanzanian . Reports highlighted her reliance on sporadic gigs and fan donations, prompting public condemnation of institutions for failing to care for elderly artists, with calls for better welfare systems in . Posthumously, disputes arose over ownership of her music and estate, complicating her legacy amid claims of exploitation by collaborators.

Discography

Key Albums and Singles

Bi Kidude's recorded output was limited compared to her extensive live performances spanning decades, with most commercial releases occurring in the late 1990s and 2000s as international interest in grew. Her albums typically feature interpretations of traditional and Arabic-influenced songs, often accompanied by ensembles like the Twinkling Stars or Culture Musical Club, emphasizing poetic lyrics on love, social issues, and Zanzibari life. Among her key albums, (1998, Retro Afrique) captures her raw vocal style in live-like settings, including tracks such as "Machozi Ya Huba" and traditional pieces highlighting her endurance as a performer into her later years. Zanzibara, Vol. 4: The Diva of Zanzibari Music (2006, Buda Musique) showcases refined productions with orchestral elements, featuring songs like "Beru" and "Jazamni," which underscore her status as a through layered instrumentation and emotive delivery. Bi Kidude with Sahib El Arry (circa 2013) explores cross-cultural fusions, blending with Egyptian influences in tracks including "Jua Toka" and "Ya Laiti," reflecting late-career collaborations. Formal singles were rare in her oeuvre, given taarab's emphasis on communal performances over standalone releases, but notable tracks like "Muhogo wa Jang'ombe" (recorded with Culture Musical Club, 2009) gained prominence for its rhythmic groove and social commentary on cassava farming metaphors for resilience, often performed live at Zanzibari festivals. "Kijiti" (a cover of Siti binti Saad's composition addressing women's hardships) and "Bero" also stand out as frequently cited recordings, appearing on compilations and live sets that preserved her interpretive prowess. These pieces exemplify her contribution to unyago and taarab traditions without original compositions dominating her catalog.

Compilations and Posthumous Releases

Bi Kidude's limited studio output during her lifetime has resulted in few dedicated compilations, with her contributions primarily appearing on broader anthologies rather than standalone retrospective albums. One such inclusion is on the 2009 compilation Africa: 50 Years of Music, which features select tracks alongside other African artists to showcase continental musical evolution. Her recordings from earlier sessions, such as those with the Sahib El Arry ensemble in 1988, were reissued posthumously as the EP Bi Kidude with Sahib El Arry in 2013, containing songs like "Chosi La Huba" and "Sahuba Ya Dai" that highlight her style with traditional instrumentation. No new posthumous studio albums or major archival releases have emerged since her death on April 17, 2013, reflecting the oral and performance-based nature of her career, where much of her repertoire was preserved through live unyago and traditions rather than extensive commercial recordings. Reissues of her core Zanzibar (originally 1999) continue to circulate, including editions by Stern's Africa, maintaining accessibility to her foundational works without introducing previously unreleased material. These efforts underscore the archival rather than innovative approach to her catalog post-2013, prioritizing preservation over expansion.

References

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  52. https://www.amazon.com/music/player/artists/B000QKCSJA/bi-kidude
  53. https://www.youtube.com/watch?v=egzufQ1ZDCk
  54. https://verbafricana.org/swahili/b-kijiti-performance.htm
  55. https://rateyourmusic.com/artist/bi_kidude
  56. https://www.ebay.com/itm/357630685446
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