Religion, Sexuality, and Power in Singeli Music Genre

A Critical Analysis of ‘Pita Huku’ and ‘Mungu Atusamehe’ Songs

Abstract

In Tanzania, one of the East African countries, Singeli is a new and dynamic form of music known for its vivid social commentary. It plays a vital role on the Tanzanian music scene, where it serves as a cultural expression that allows artists to address various social issues to a broad audience. This article analyses two songs—“Pita Huku” and “Mungu Atusamehe”—to explore the social manifestations of power and sexuality. Deploying  the Critical Social Theory, the article examines how religion serves as the ultimate authority in establishing moral standards, further influencing the power balances and imbalances in society. Both songs, ultimately, depict religion as the yardstick of morality in society while condemning women’s sexuality and transgression in and outside marriage. The article indicates that the songs depict women as both victims of stereotypes and as failures in serving as moral arbiters in society, hence further eroding societal values and norms. For most part, the songs appear  to spare the men the condescending glare of society, hence enabling and perpetuating the retention of patriarchal structures.

Key words: Critical Social Theory, Power, Religion, Sexuality, Singeli