The 1960s saw a shift in Kenya’s music from traditional to contemporary styles. Song lyrics were influenced by phenomena that came as a result of colonialism, such as the independence struggle, formal education, national politics, and economic development. Melodies were influenced by exposure to foreign instruments such as the guitar. One of the musicians who documented these changes through his songs was Kipchamba arap Tapotuk.
Kipchamba was born in Kapsirich Village in Bomet in 1937. As he grew up, he witnessed a lot of change taking place in society. Many of these changes impacted his life, such as the embracing of formal education. As this concept became widely accepted among Kenyans, Kipchamba was enrolled into Segemik Primary School, and thereafter Kaplong Intermediate School (presently Kaplong Boys’ High School). While he enjoyed both his studies and co-curricular activities such as music and sports, the Kshs. 105 annual school fee was too costly for his parents. Unable to raise these funds, Kipchamba dropped out of school in 1955.
With school no longer an option, Kipchamba went into the job market. He moved to Njoro in Nakuru and got employed on a European settler farm. His boss owned an acoustic guitar, which he was allowed to borrow and use to entertain himself. Playing a stringed instrument was not new to Kipchamba who had learned how to play the chemonge – a traditional Kalenjin instrument – earlier on in life. Once he mastered the guitar, he began entertaining his employer’s guests at parties.
His musical inclination urged Kipchamba to quit his farmhand job and try his luck as a singer. He formed the Koilong’et Band, and together with other members Oriango arap Chepkwony, Francis arap Langat, Morris arap Mainek and Sageri arap Talam, started recording their music at Chandarana Records in Kericho. Unfortunately, this partnership did not last very long. In 1959, after the band broke up and Kipchamba began his solo career.
The changes that Kipchamba had lived through informed his work. Singing in the Kalenjin language, he created music about the importance of education and health, and even about the political environment leading up to independence. He condemned colonialism and even after independence, he addressed the continued siphoning of African resources through colonialism in his song Baane Rogoroni.
In his lyrics, Kipchamba incorporated Kalenjin folktales, idioms, proverbs and expressions. This made this music extremely popular among Kalenjin speakers, and he was praised as one of the pioneering musicians of vernacular rhumba music.
At the time of his passing on 7th April 2007, Kipchamba arap Tapotuk had produced over 100 songs and inspired the rise of a new generation of Kalenjin musicians. His music is still played on radio stations and during community festivals. He is remembered as a truth speaker whose music was a mirror that reflected the society.
Be (re)introduced to Kalenjin rhumba through one of Kipchamba’s hit songs – Sera.