SWAHILI ORAL LITERATURE

[SWAH 312]

Oral Literature is that aspect of literature that is transmitted or performed orally or

by way of mouth. These were not originally written down but rather the performer or the
artist just mounts the stage or the public and perform orally. For example, among the
Swahili people, in the olden days poets prominent among whom was Muyanka bin Haji
would mount the stage to recite poems to see which of them would defeat the other.
COMPONENTS OF SWAHILI ORAL LITERATURE
By component of Swahili Oral Literature, we are referring to what constitutes Swahili
oral literature. That is, what the Swahili oral literature is made up of. Some of the Swahili
oral literature components include the following:
1. Oral poetry – Ushairi (poetry), Shairi (poem)
2. Swahili customs or institutions
3. Swahili songs – Wimbo/nyimbo
4. Swahili proverbs – Methali and
5. Swahili folktales – Hadithi
6. Swahili riddles – Kitendawili
FEATURES OF SWAHILI ORAL LITERATURE
Features of Swahili oral literature deal with the characteristics of the oral literature.
These are:
1. REPEATED PERFORMANCE:
There is a repeated performance by the artist or the performer. That is, it is
the same performance handed over from generation to generation which is
performed all the time. For example, the same story told by our ancestors is told
these days. The old proverbs, riddles or traditional songs are what are still being
performed.
2. ELEMENTS OF DYNAMISM:
There are elements of dynamism in Swahili oral performance. That is to say,
even though the structure of a piece of oral act form may be fixed the performer
is at liberty to vary the performance by adopting any style depending on his skills
and the audience. Hence, for example if the same story is narrated by two
storytellers, one could see a difference depending on the skills of each performer
and also the audience. The way a storyteller will tell a story to University
students will be different from the way he will tell the same story to class one
children. That of the class one children will be more of dramatization of the
major characters and singing and clapping rather that pure oral narration.

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 3. AUDIENCE PARTICIPATION:
Unlike in drama where the audience just sit down and watch or listen to the
performance, in oral literature the audience participate in the performance. The
audience take part in the performance by singing, clapping, dancing and even
shouting to show the level of their enjoyment or express their displeasure about
the artist’s performance. In story telling for an example, an audience can
dramatize an episode during the performance.
4. DRAMATIZATION OF EPISODE:
Another feature of Swahili oral literature is dramatization of episodes within
the performance. For example, in the folktale (Hadithi) an audience may
dramatize any part of the story to make it interesting. For example, he can
dramatize the mood of the major character or any of the characters undergoing
an activity.
5. RISKTAKING BY THE ARTIST:
Another feature of Swahili oral literature is that the artist or the performer is
always at a risk. That is, he is face-to-face with the audience and the audience is
at liberty to subject him to criticisms. The audience is at liberty to criticize his
performance on the stage just as they can also appreciate his performance.
SWAHILI ORAL POETRY [USHAIRI(Poetry), SHAIRI (Poem)]
Oral poetry has been with the Swahili people since time immemorial. In the olden
days, Swahili poets used to mount the stage to recite poems in competition to see who
would defeat the other. Difficult problems are set in the poem for the other poet to solve
it. This would show how intelligent each poet in the competition was. Muyanka bin Haji,
a Swahili renowned poet was an expert in this type of competition in poetry recital on the
stage. Other poets ran away before him on the stage. It is therefore not strange that one
Mwalimu Sikujua talking about Muyanka’s works wrote the following about him.
Nawambia pulkani, hizo zamani za kale
Muyanka alinisani, kwa mashairi tuwele
Alikinga ngomani, pasiwe mkia mbele
Akitongoa tongole, yaliyoandikwa mumo.
Listen while I tell you, in those far off days
Muyanka was the expert, of the poems we had at the time
He used to enter the dancing floor, nobody
dare to come before him.
He used to speak the most flourishing language
of the work of arts which has been
written down in this book.

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 It is said that the white people (colonialist) wanted to attack Mombasa and destroy
it. They were afraid that the people of Pate might come to help the people of Mombasa
against them. They intentionally befriended the people of Pate so that when they attack
Mombasa the people of Pate would not come to the aid of the people of Mombasa.
Their intention was to attack and destroy Mombasa first and then turn round to attack
and destroy Pate also. Muyanka got to know the intention of the whites and composed
a poem at a market place on a market day. As the market women were going to their
various villages, they sang the poem along and this got to the fighters in the bush so by
the time the whites were at Mombasa the Pate fighters were there and the whites were
defeated.
Wangwana Pate yunga, hawateridhid pingu
Msambe ndswi wajinga, mtutumao Kizungu
Kwa kibaba cha mpunga, kisichojaa tungu
Msikufurni mungu, Makingia kufurini.
Noble men of Pate would not be content to
be put in chains.
Do not tell us we are so foolish as to be
used by the white man.
For just a measure of flour
which will not fill the port.
Do not blaspheme God so you
enter into troubles (curse).
Muyanka was also said to have been in love with a certain woman. He bought a very
beautiful and costly cloth for the woman. When the woman put on the cloth and became
beautiful, she left Muyanka and started chasing another man. Muyanka out of anger then
composed a poem entitled ‘NIPE KITAMBI CHANGU’ (YOU GIVE ME MY PIECE OF CLOTH).
You give me my piece of cloth.
The cloth which I gave you.
And which has made you so
beautiful, that you do not even
hear the (maolin) call for prayer.
You give me my piece of cloth.
It may be that I even bought it on credit.
But a debt must be paid.
So you give me my piece of cloth.

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 SWAHILI CUSTOMS OR INSTITUTIONS
Swahili customs and institution constitute another component of Swahili Oral
Literature. Some of the Swahili customs and institutions include Jandoni and Uyangoni.
Jandoni is a customary rites which uplifts young boys to the state of adulthood, while
Unyangoni is the customary rites which uplifts young girls to the state of adulthood. Here,
both the boys and the girls are confined separately and taught their responsibilities as
adults in the society.
However, the Swahili oral literature student is more interested in the oral
performance during the celebration more than the customary rites itself. This oral
performance involves the songs sung during the performance of the rites.
1. Kijana we kijana, Response
Ukubwa umepata, Kijana wa Kijiji.
Nduguzo kuwatunza,
Na raha watapata.
Kijana we kijan.
2. Kijana we kijana, Response
Kijiji chakungoja, Kijana wa Kijiji.
Hasa wewe kukilinda,
Adui kuwashinda.
Kijana we kijana.
1. Youngman/woman, you youngman/woman, Response
You have become an adult, Youngman/woman, of
To look after your brothers/sisters, the village.
So that they will have joy.
Youngman/woman, you youngman/woman.
2. Youngman/woman, you youngman/woman, Response
The village is waiting for you, Youngman/woman of
Especially for you to guard it. the village.
Youngman/woman, you youngman/woman.
SWAHILI SONGS (Wimbo/Nyimbo)

Among the Swahili people there are a lot of Traditional songs. Occasions during which
songs are used include dances, folktale performance, during work such as farming and
fishing as well as during war times. Some of the common traditional songs include the
following:
1. The GUNGU SONGS and the MAFUGO WEDDING SONGS. These songs are sung during
wedding ceremonies, funerals and other occasions such as the ngoma (drumming and
dancing).
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 MAFUGO WEDDING SONGS
As the name implies, this song is sung during wedding ceremonies as well as other
dances. It takes its name from “fugo”, the horn or the buffalo which is used as
accompaniment during the singing of the Mafugo Wedding song. An example of the
Mafugo Wedding song is the one below:
Pani nitese pole mtu mweni
Humo utumweni wangu si wenyeji wenu
Mtu mweni utumbili kisima kuwanywesha
mwenyejiwe mayi
Akima kupata mayi akapiga panda
Aketa wana wanyema ndooni muole
Wana wanyema wakiya wakima na kulia
Ya kushindwa ndio eda ya Waume
Give me a court yard that I, a stranger may play
For this my service is not as your citizenship
A stranger digs a well that he might give the citizens to drink
Having found water he stood and blew a horn
And he called the good people, come and see
And the good folk came and stood and cried
It is the test of men to be left some hope.
GUNGU SONGS
The Gungu song is another traditional song which is sung during wedding ceremonies
and dances as well as funerals. This song is embodied in ‘Liyongo’s Saga’ and Liyongo is
said to be the originator of the song. Below is an example of the Gungu song:
Kuna gungu/nyemi za arusi
Hukusanywa/watezi wa ringo
Washairi/nao wafuasi
Wayuao/kutunga kifungo
There is a song/going on which is pleasure of wedding
People are being gathered/the Ringo dancers
Poets/and their chorus/followers
And people who know how to riddly poems.
2. OLD WAR SONGS
In the olden days when people used to go to war, they sang war songs either to
encourage the warriors and make them bold and brave to fight to bring success or sing
songs to frighten their enemies. An example of Swahili old war songs is as follows:

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 Siya ya jana yalia wenye kwenda vita
nainel la kondoka katafuta inda
Mama mzazi vikunda nguo kukamata
Baba wendapi kujawa nimewakutaka
Charion of war, give the cries
I was asleep, and got up looked for my arms
Where are you going my child?
Where are you going?
To your father?
3. FOLKTALE SONGS
During folktale performance among the Swahili people, songs are sung by either the
narrator alone or by the narrator while the audience joins him. These songs are of two
types. First there are songs that are not related to a particular folktale but sung by both
the narrator and the audience to dramatize episodes in the story.
The second type of folktale songs and which is the commonest are the songs which
are integral part of specific stories and which in fact punctuate the story. This song is
mostly sung by the major character in the story when the character find itself in a very
difficult situation. Sometimes the major character sings it when in a happy mood. Since
this song forms an integral pa of the story in question and punctuate certain part of the
story it is always sung by the narrator during folktale performances. Sometimes the
audience also joins the narrator in the song.
An example of such songs is the following:
In that story, brothers went in search of wealth but each got nothing except the last born
who got a lot of wealth being carried by hired servant. When they met at their common
camp preparing to go home to their father, the rest conspired and killed their younger
brother, shared his wealth and planned to go to tell the father that he was caught by a
wild animal. Unknown to them an old lady had told him of his brothers’ plan before and
had given him medicine which would turn him into a bird, fly home and change into a
human being again. When they arrived home and told their story, a bird landed, sang a
song to the father and then changed into their younger brother and they became
ashamed. On their way home the bird was following them and singing so the narrator
sings the song at each stage.
Nyinyi milioniuwa
Bure!
mejidanganya
Tutakutana
nyumbani
Kwa baba na
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 mama yetu!
You who killed me
for nothing
You have deceived yourselves
We shall meet
at home
To our father and mother’s place
4. LOVE SONGS
Love songs among Swahili people are very common. Such songs are sung to express
the singer’s mood or feeling about love, its prospects, promises and deceits. An example
of such songs is the song NYONDA (LOVE).
NYONDA (LOVE)
zi thakili nyoda Love that gloom
zilizoniswebu that is what has crushed me
Ingawa napenda Although I am in love
mno nidharubu I am badly shaken
Sina la kutenda I do not know what to do
Kwangu zikaghibu to remove this love from my heart.
Nyonda ni nzito Love is heavy
mno no adhabu too heavy, it is a punishment
Zishishile moto It burns
Hazina taibu there is no doctor for it
Pasina ufito There is no place where one can hide
nyonda nmetubu Love, I surrender (from it)
zi wapi anasa Where are the joys
zilizoniswibu that have come to me [so they say]
Zote zimetusa They have all avoided me
pasina sababu without reason
Leo Zanitesa Today, love makes me suffer
Nakuniadhibu and punishes me
Mahabubu fika! My beloved arrived!
nwenye mazoweya who has such delightful habits,
toa yote shaka remove all doubt,
sibadili niya do not change your mind
mimi tatwibika I shall be cured
kikuona mara moya at once when I see you

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 This is the song of a person who is in love with somebody and it seems the person has
rejected him or her so he or she is in troubles.
As a result, he or she does not know what to do. To him or her love is a punishment
when it gets hold of you. It burns you and there is no doctor who can cure you. Neither is
there a place where you can hide. To the singer, people say there is joy when you are in
love but he or she does not see that since those he or she loved have all avoided him
without any reason.
The singer is now appealing to his or her beloved one that he or she should come back
to him or her. He or she should not change his or her mind about him or her because he
or she will be cured as soon as he or she sees him or her. In stanza 3 we come across the
use of a rhetorical question.
Zi wape anasa Where are the joys
zilizoniswibu that have come to me [so they say]
This is not a question meant to be answered but to draw the feelings or attention of
the people to the singer’s feeling. In the last two lines of stanza 3 we find the use of
personification. Love is personified as if it is animate or human being.
Leo zaniteza Today, love has made
Na kuniadhibu me suffer and punishes me.
STRUCTURE OF THE SONG
Even though the normal structure of a Swahili Wimbo (song) is three (3) lines to a
stanza, this song is six (6) lines to a stanza which seems to be a deviation of the normal
rule of composition of Swahili wimbo. However, a close examination of the song reveals
that two half line actually form one single line, thus making the normal 3 lines to the
wimbo.
Again, the song is of the free verse type.
TUTORIAL QUESTIONS
1. What does the song NYONDA tell the society?
2. Describe the mood of the singer. Justify your answer.
3. Identify two (2) figures of speech found in the song and justify your answer.
4. Briefly describe the structure of the song.
SWAHILI PROVERBS (METHALI)
Among the Swahili people the proverb is called the “Methali” Like all other Africans
proverb speaking is very common among the Swahili people. Proverbs are used to
embellish the language and they are used very often by the elders. The youth can also
play a game of proverb speaking to find which of them is well versed in Swahili proverbs.
What then is a proverb? A proverb is a short wise saying used to illustrate a point.

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 SOURCES OF SWAHILI PROVERB
There are various means through which the Swahili people derive their proverbs. These
include natural phenomenon, observation of the behaviours of human beings and
animals, animals, natural objects, occupation of and many others.
A. Proverbs derived from the occupation of the people include the following.
1. Mchagua jembe si mkulima
He who makes selection among hoes is not a farmer. This is derived from farming.
2. Bila chambo hunasi samki.
Without bait you don’t catch fishes
(derived from fishing activity)
B. Proverbs derived from the behavior of animals include
1. Kesho Kesho ni manyani (Tomorrow, tomorrow is the baboon)
It is because of procrastination that the baboons don’t have houses or
procrastination is a thief of time (It shows baboons behaviours)
2. Buibui saa nyingine huuma
The spider at times bites (behavior of the spider)
3. Hasira ya mkizi furaha ya mvuvi
The anger of the mkizi fish is the joy of the fisherman (it shows the behaviours of
the mkizi)
C. Proverbs derived from the behavior of human beings include
1. Asiyefunzwa na mama yake hufunzwa na ulimwengu.
He who is not taught by the mother is taught by the world (derived from the
behaviours of a stubborn child).
2. Mtoto wa simba ni simba
The child of a loin is a loin (derived from the character of a child resembling that
of the parents).
3. Mtoto wa nyoka ni nyoka
The child of a snake is a snake

OCCASIONS DURING WHICH PROVERBS ARE USED

Among the Swahili people there are various occasions during which proverbs are used.
These include:-
1. Everyday use of the language.
2. During speeches.
3. During the meetings of the Balaza la Wazee (Council of elders)
4. In songs
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 5. In riddles
6. During competitions in poetry recitals
7. During storytelling and many others.

LANGUAGE OF SWAHILI PROVERBS

The language of the Swahili proverb is very beautiful. When one examines the language
of the Swahili proverbs the following features are identified.
(i) Repetition of words
(ii) Repetition of sounds
(iii) Use of positive clause balanced by a negative clause and then a negative
clause balanced by positive clause,
(iv) Use of negative constructions.
(v) Clause parallelism
(vi) Use of things or objects with similar features
(vii) Use of things or objects opposite features
(viii) Use of rhythm

(I) REPETITION OF WORDS

In some of the Swahili proverbs we come across the repetition of words. For
example we have;
1. Bandu bandu humaliza gogo
Gradual chopping of the wood finishes the work
Here bandu is repeated.
2. Chovya chovya humliza buyu la asali
Gradual licking of the finger finishes the calabashful of honey (repetition of
chovya)
3. Kinga na kinga ndipo moto uwakapo.
It is the hitting of things against each other that result in fire (repetition of
kinga)
(II) REPETITION OF SOUNDS
Some Swahili proverbs show repetition of sounds. In the two proverbs,
1. Chovya chovya humaliza buyu la asali.
and
2. Bandu bandu humaliza gogo.

there is repetition of the sound vya and du.

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 USE OF POSITIVE CLAUSE BALANCED BY NEGATIVE CLAUSE
In some of the Swahili proverbs we come across the use of positive clause as a first
clause balanced by a negative clause as the second clause. Similarly, we come across the
use of a negative clause balanced by a positive clause.
1. Ulapo na kipofu, usimguse mkono.
Positive clause Negative clause

When you eat with a blind man you should not touch his hands.
2. Akuknagae mchana hakuambri pole usiku.
Positive clause Negative clause

On you in the day time does not say sorry to you when he steps on you in the
night.
3. Usipoziba ufa, utajenga ukuta
Negative clause Positive clause

If you don’t seal a crack in wall you will end up building a wall.
4. Asiyefunzwa na mama yake, hufunzwa na ulimwengu
Negative clause Positive clause

There are proverbs in which the subject of the first clause becomes the object of the
second clause and vice versa.
Aliyekukimbia hakukkuona na aliyekuona hakukkubia
Subject object subject object

The one who run away from, you did not see you and the one who saw did not run away
from you.
USE OF NEGATIVE CONSTRUCTIONS
There are Swahili proverbs that are made up of negative constructions. Examples of
such proverbs include
1. Usinyie kambi
Don’t make dirty the place you stay when leaving/vacating.
2. Asiyekujua hukuthamani
He who does not know you does not value you.
USE OF THINGS OR OBJECTS WITH SIMILAR FEATURES
Some of the Swahili proverbs make use of things with similar features. The following
are examples of these proverbs:
1. Asiye chakula ana kitoweo.

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 He who has no food has stew.
Food and stew are related.
2. Dunia hadaa, ulimwengu shujaa.
The world is a problem, the world is brave or a hero.
Both dunia and ulimwengu means the world.
3. Kuku akilewa husahaw mwewe.
When the hen is drunk it forgets the hawk.
Here both the hen and the hawk are birds (have feathers)
4. Heri kufa kulko kufariki.
It is better to die than to leave the world.

PROVERBS WITH OPPOSITE THINGS OR FEATURES

There are proverbs which makes use of opposite things or features.
1. Maskini na mwanawe, tajiri na mali yake.
A poor man and his child, the rich and his wealth.
Poor and rich are opposite.
2. Mtu mwenye shibe hamjui mwenye njaa.
A person who is satisfied does not know a hungry person.
Satisfied and Hungry are opposite. Satisfied and hungry are opposite
USE OF RHYTHM
In some of the proverbs we come across the use of rhythm.
1. Chovya chovya humaliza buyu la asali.

2. Bandu bandu humaliza gogo.

SWAHILI FOLKTALES (HADITHI)

In Swahili the folktale is called Hadithi. Characters found in Swahili Hadithi include
human beings, spirits, natural objects and animals. We come across human characters
such as old lady, oldman, women, men, mfalme (King), hunter, as well as spirits such as
Mungu (God), jinni etc. Animals used as characters in Swahili Hadithi include Kobe
(tortoise), ndovfu/tembo (elephant), simba (lion), sungura (rabbit), chui (leopard),
Nyati (buffalo) and many others. Apart from these characters we often come across
ABUNUWASI, a borrowed character from Arabic folktale.
IMPORTANCE OF HADITHI
The main importance of Swahili folktale is for entertainment. Like all other African
societies, after the days hard work the people come together in the evenings to tell stories
to entertain themselves. These days storytelling is not limited to the evenings alone.
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School children tell stories at schools. Apart from entertainment the stories are also used
to teach morals in the society. They are also used to show the wisdom and skills of
individuals.
PERFORMANCE OF THE HADITHI
In the performance of the Hadithi we first come across the Introductory formula or the
opening formula. The Storyteller says HADITHI ! HADITHI !, and the audience responds
HADITHI NJOO. This means I am ready with the story or I am bringing the story, and the
responds means “Let the story come”.
In the olden days the opening formula used to be PAUKWA ! (there is) and the response
was PAKAWA ! (there was). the old opening formula and its response means what was
relevant in the olden days is still relevant and that we can learn lessons of today from past
events.
After the opening formula comes the title or the theme of the story. The title or theme
can be a statement, a question or a proverb. The title or the theme can be:-
1. Kwa nini simba in mafalme wa Wanyama.
Why the lion is the king of animals.
2. Kesho kesho ni manyani.
Why the baboons don’t have houses or Procrastination is a thief of time.
3. Uwike usiwike kutakucha.
Whether you crow or not day time will come.
4. Asiyefunzwa na mama yake hufunzwa na ulimwengu.
He who is not taught by the mother is taught by the world.
5. Usipoziba ufa utajenga ukuta.
If you don’t seal a crack on the wall you will end up by building a wall.
After giving the title of the story the narrator starts the story itself by introducing it
with the phrase “Hapo Kale za zamani” (A very long time ago).
In the body of the story itself even though the structure of the story is fixed the
performer can vary it by adopting various styles to make it interesting depending on the
skills of each performer. The performer may sing, dance, clap or even imitate the cries of
animals, sound of a falling rain or thunder, the movement of the winds, objects and many
others. Narrator can even dramatize an episode within the story. Similarly, there is an
audience participation. This is to say, the audience can participate in the performance in
a form of dancing, singing and clapping.
At the end of the story is the concluding formula. Before the concluding formula the
narrator repeats the title or the theme. For example, the narrator may say “This is why

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 the baboons do not have houses”. The concluding formula of the Swahili folktale (Hadithi)
is the following:-
“Ikiwa hadithi hii ni nzuri
Uzuli wake ni wa sisi sote
Lakini ikiwa ni mbaya
Ubaya wake ni wa msimulizi
Mwenyewe”.
“If this story is good
Its goodness is for us all
But if it is bad
Its badness is for the narrator himself”.
EXAMPLES OF SWAHILI STORIES
1. UWIKE USIWIKE KUTAKUCHA
A very long time ago, the jogoo (cock) was the king of all animals. Every night when
the animals were in darkness it was the jogoo who had to crow before dawn or day time
would come. The cock made other animals believe that without him crowing at dawn day
time would not come and the animals would remain in darkness forever. For this fear of
remaining in darkness forever if jogoo refuse to crow that the animals made jogoo their
king.
For this reason, jogoo the king of animals used this opportunity to cheat, threaten,
maltreat the animals and made them worship him like a master and his slaves. Anytime
the animals complained about the maltreatment, jogoo would tell them that if they
misbehave, he would refuse to crow and day time would not come so they would remain
in darkness forever. As soon as the animals heard this, they would become afraid and
keep quiet. This went on till the animals became fed up.
One day they decided to ignore jogoo. When darkness came, they told jogoo not to
crow at dawn and that if he did so they would kill him. So that night jagoo did not crow
but to their surprise day time came. So, the animals realized that after all it was not the
crow of jogoo which brings day time.
They then went to jogoo, beat him up and removed him as the king of animals by
telling him; “So Uwike usiwike kutakucha!” (Whether you crow or not day time will
come).
2. NAKUPENDA KAMA CHUMVI (I LOVE YOU LIKE SALT)
Once upon a time there lived a Mfalme (King) who was rich. He had three beautiful
daughters. The King wanted to know from his three daughters which of them loved him
most. So, one day he called the three daughters one by one and asked them which of
them loved him most.

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 He called the first daughter and asked her; “To what extend do you love me?”, and
she replied; “Nakupenda kama dhahabu”, meaning I love you like gold. The mfalme
became very happy because gold is a precious mineral.
He then called the second daughter and asked her and she also answered;
“Nakupenda kama almasi”, meaning I love you like diamond. The Mfalme became very
happy because diamond is a precious mineral.
He finally called his youngest daughter and asked he to what extend she love him. She
anwered; “Nakupenda kama chumvi”, meaning I love you like salt. The Mfalme became
highly annoyed because he did not see why his own daughter could compare the love she
had for him to an inferior thing like salt. As a result, he drove her daughter away from his
Kingdom never to set her eyes on the Kingdom again.
The daughter out of sorrow packed all her things and left the Kingdom. She went and
lived in another Kingdom where she became a very good cook. When the Mfalme became
very old he decided to have a feast for all the important personalities in his kingdom.
As a result, he invited all the important cooks in his kingdom as well as other
renowned cooks from other kingdoms. Unknown to the Mfalme his last daughter he sent
away had become a grownup lady and was among the important cooks who came. In fact,
his daughter was the cook who was in charge of the soup and the stew. His daughter
instructed the cooks under her not to put salt into the stew and the soup. This was done.
When the food was ready and served it was tasteless so all the important quests
started going away one by one without eating the food. The Mfalme became very
disgraced and warried and decided to kill himself. To save the situation his daughter
quickly put salt into the stew and the soup and called the guest back to eat. They all ate
with joy and the Mfalme became happy again.
The daughter then introduced herself to the Mfalme and said; “I am your last
daughter you sent away when I told you “Nakupenda kama chumvi”. Now you have seen
that you cannot live without salt”. The Mfalme then apologized to his daughter and gave
her half of his property.
3. CHECHE NA SUNGURA
Cheche (the mongoose) and Sungura (the rabbit) were two great friends living
together and doing everything together. There occurred a great famine on the land so
these two friends decided to go to a certain forest in search of food. In the forest they
made a camp where they would meet and then each went on a separate way in the forest.
The two friends were however able to find the eggs of the guinea fowl (kanga) and
brought them home. At home they decided to roast the eggs. Cheche was by then feeling
very sleepy so he asked Sungura to roast the eggs while he went to have a little sleep.
However, Sungura being greedy ate all the eggs, burnt the shells of the eggs and told
Cheche that he also slept and unfortunately all the eggs were burnt. Cheche did not say
anything even though he did not believe his friend’s story.
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 At another time the two friends went into the forest in search of food. Because
Sungura was lazy, instead of searching for food he went and slept under a tree in the
forest. Somebody found him, covered him with banana leaves and beat him mercilessly.
Sungura did not know who beat him.
Then, one day the two friends attended a dance. Sungura mounted the stage, took
the musical instrument and started playing;
Kanga pia
Singisia moto
Ti! Ti! Ti!
And the guinea fowl also
I intentionally blamed the fire
Ti! Ti! Ti!
Meaning the was the one who ate all the eggs of the guinea fowl and pretended that
they were burnt by the fire.
When Cheche got the meaning of Sungura’s message he also mounted the stage, took
the musical instrument and started playing;
Nikalikamata! Nikalimfungafunga!
Kwa majani ya ngomba
Nikalimpiga Pu! Pu! Pu!
I caught him! Covered him!
With Banana leaves
And beat him Pu! Pu! Pu!
Meaning, it was he Cheche who found Sungura fast asleep and covered him with
banana leaves and beat him mercilessly. When Sungura heard this, it pained him that his
own best friend could do such a thing to him. He decided that never in his lifetime will
Cheche ever become his friend again. So, the friendship between Cheche and Sungura
came to an end.
4. MCHOYO HANA RAFIKI (A GREADY PERSON HAS NO FRIEND)
A very long time ago Sungura (the rabbit) and the Fisi (Hyena) were great friends. One
day the rabbit desired to travel with his friend the hyena. On the was Sungura said; “My
friend Fisi”, Fisi replied; “Naam Bwana Sungura”. Sungura continued to say; “I have
chosen what name”. Fisi replied; “Chawageni” (For the visitor). Fisi said, why don’t I have
a name? Sungura replied; “Then you should take your name”. Fisi said; “I don’t know how
to choose a name so I beg you to choose one for me”. Sungura replied; “Very well, then I
have chosen for you and the name is “Chawte” (For all of you). Fisi said; “Asante Sana”

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 After this short conversation they arrived at their host’s place. There they were very
well welcomed, food was prepared for them and they were invited to the table. Behold
there was a child who wanted to eat with the visitors. So he cried very well and so his
mother prevented him saying you child you are not to eat because this food is not for all,
“Chawote” but for the visitors, “Chawageni”. Sungura told Fisi, “unasikia?” (do you
hear?). Fisi said; “Eeh how?”. Sungura replied; “this food is for Chawageni and not yours”.
Who is Chawageni, not me? Fisi became astonished and asked the cook, “Mama, is this
food for Chawote or Chawageni? The woman answered, “It is for the visitors (Chawageni)
only and not for all (Chawote)”. Fisi had nothing to say except to challenge Sungura. In
the end Fisi was defeated. He then left Sungura to eat that food, and he went his way.
Since that day the friendship between Fisi and Sungura came to an end.
5. DADA NYANI (SISTER NYANI)
In a certain year there occurred great famine. In all parts of the country there was
only one poor man who had a corn farm. Now baboons thought of a plan to get the maize
to eat easily. So the baboons selected a very beautiful baboon and changed her into a
beautiful woman to go and beg for maize so that if the owner of the maize saw her and
wanted to marry her would agree. If she was married to the owner of the maize then all
the baboons would find it easier to go and harvest maize without being chased away.
When that beautiful lady arrived, the owner of the maize desired her and when he told
her of his intention to marry her, she agreed. So he married her.
As a result, it happened that since that day the baboons were coming to pluck maize
morning and evening free of charge. This woman was not chasing them away because the
baboons were her people. But one day she told them, “Comrades baboon, I am now tired
of giving you maize free of charge. You always make your tails stand high, you have
refused to work. Why?”. Those baboons replied, “You, we have changed you to be human
being, but now you are refusing us because of these our tails. But if we become annoyed
you will not stay with your husband because we will change you again to become a baboon
like us”.
That beautiful lady told them that they could not change her into a baboon again and
that since that day she didn’t want to see those baboons in her house. So the baboons
became very angry and went away. When they arrived at their place they met and started
thinking about the utterances of that lady who was once their fellow baboon. They all
agreed among themselves that they should return her tail to her and change her to her
baboon state. They all went to their homes singing;
Ukimwona Loda
Mpelekee mkia wake huo!
If you see Loda
Send her this her tail
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 When they came near the house that lady started hearing the song. She told her
husband that she was not well. Her husband began to be astonished as to when this
sickness started. When the baboons continued singing, the lady started to change again.
When she finished changing into a baboon, she ran into the forest to join her fellow
baboons. It was when she arrived that they told her, “Where is she who was boasting
and saying that she is not a baboon?”. So they beat her till she repented before they
stopped beating her.
SWAHILI RIDDLES (KITENDAWILI)
In Swahili the game of Riddles is called Kitendawili. Like other African societies, riddles
are common among the Swahili people. After the day’s hard work people gather
especially in the night to play a game of riddles to entertain themselves. Apart from this,
riddles are found in other social activities such as songs and oral poetry. In the olden days
there used to be poetry recitals on the stage among poets such as Muyaka Bin Haji to
show which poet would defeat the other. Riddled were embodied in such poetry recital
for the opponent to answer.
IMPORTATNCE OF KITENDAWILI
Apart from the recreational or entertainment value of the Kitendawili, the
Kitendawili is used to test the wisdom or cleverness of individuals. It is also used to test
how eloquent people are in the act of speech. It also makes people aware of their
environment.
It is said the word Kitendawili is derived from two words kutanda and wili. Kutanda
(spread) here means the riddler is spreading out or bringing out something, and wili
shows what the riddler is bringing or spreading are two. That is to say the thing the Riddler
is bringing and the description of the thing.
PERFORMANCE OF KINTENDAWILI
Before the game of Kitendawili is played, first we have the introductory formula or
the opening formula. The introductory or opening formula is KITENDAWILI!
That is to say, the riddler says KITENDAWILI! And the audience or the one to answer
the riddle responds TEGA!. This introductory formula means I am bringing a riddle, and
Tega means out with it or bring it and I will answer it. The riddler will then bring the riddle
and the one answering will tell him what it is.
After the introductory or opening formula comes the “Descriptive clause”. The
descriptive clause is the clause describing the features of the thing or the object the
riddler has in mind. It is the descriptive clause which will help the one answering to know
the thing or the object the riddler has in mind.
Examples of Descriptive clause
(i) Nakunywa mchuzi nyama natupa.

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 I drink the soup and threw the meat away.
Answer: Muwa (the sugar cane).
(ii) Huzungukazuguka tu na kisha huangukia mbali.
It only goes round and round and then falls far away.
Answer: Kimbunga (whirlwind)
(iii) Hatukujui anakotoka wala anakokwenda;
Bali tunamwona akija na kuondoka njia za ajabu.
We don’t know where he is coming from nor where he is going but we see him come and
goes through two wonderful ways.
Answer: Binadamu (human beings). That is, the way he is born and the way he dies.
There is no specific number of descriptive clauses. The number of clauses depends on
the extent to which the riddler wants to describe the object in question.
After the descriptive clause comes the Question tag. That is, “Nini hicho?” (what is
this). After the Question tag comes the “Response”. This is to say, the answer.
If the one to answer is able to give the correct answer the riddler says, “OA MKE” (Get
married) since it is a good thing to get married in the Swahili society.
If on the other hand after several attempts he is unable to answer, the one who posed
the riddle says, “NIPE MBUZI” or “TOA MJI”. That is to say, “PAY GOAT” or “GIVE ME A
TOWN”. He would then give the riddler an important town in Tanzania such as Dar-es-
salaam, Dodoma, Moshi, Morogoro, Mwanza, etc. before he tells him the answer. He then
also brings out his riddle for someone to answer.
In short, the structure of the Kitendawili is made up of the Stimulus and the
Response. The stimulus is made up of the Opening or Introductory formula, the
Descriptive clause and the Question Tag.
STRUCTURE OF KITENDAWILI

Stimulus Response

Opening/Introductory Descriptive Clause Question Tag

Formula
EXAMPLES OF KITENDAWILI
1. Anachora bila ya kutumia akili.
He makes drawings without using its brains.
Answer: Konokono (Snail).

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 2. Bunduki yangu ikilia husikika dunia nzima.
When my gun fires it is heard all over the world.
Answer: Radi (Thunder).
3. Babu katupa sahani mibili, moja tunaitumia lakini moja hatuitumii.
Grandfather gave us two plates, one we use it, the other we do not use it.
Answer: Ardhi na mbingu (The earth and the Sky)
4. Kamba yangu ndefu lakini halifungui kuni.
My rope is long but it does not tie firewood.
Answer: Njia (Road).
5. Huingia ndani ya nyama lakini hutoka bila ya kula.
He enters inside the meat but he comes out without eating it.
Answer: Kisu (Knife).
6. Hufukuzana kila siku lakini hatukutani.
They chase each other every day but they never meet.
Answer: Magurundumu ya gari (Lorry tires).
LANGUAGE OF THE KITENDAWILI
The Swahili Kitendawili (riddle) has a very unique language. The language includes the
use of irony (kejeli), metaphor (sitiari), ideophone, display of sound or words, and clause
parallelism.
1. In some of the Kitendawili we come across the use of irony. This is a figure of speech in
which one is seen ridiculing another. For example in
Rudi nyuma nikuonyshe.
Come back and let me show you.
Asnswer: Mavi ya mlevi (extreament of a drunkard).
Here, the drunkard is being laughed at. The riddle teaches both clearness or evils of being
drunk.
2. Sometimes the riddle uses a metaphorical language to blindfold the one who is to
answer. Metaphor is a figure of speech in which two unrelated things are compared
without the use of element of comparison or a figure of speech in which one thing is used
to replace another which is unrelated to it. For example:
Saa yetu kadiri inavyotembea indivyo inavyopungua nguvu.
The more our watch goes, the more it reduces its strength.

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 Asnswer: Moyo (the Heart).
Here, the heart is compared to a watch.
3. There is also the use of ideophone. This is the situation where an event is known by the
sound it makes. For example:
Brururu mpaka maka.
A slip on the ground to Mecca.
Asnswer: Utelezi (Slip).
Here Brururu is the sound made by a person who slips.
4. In Kitendawili also, we come across the use of clause parallelism. This is a situation where
the subject of the first clause become object of the second clause and the object of the
second clause becomes the subject of the first clause. For example:
Teketeke huzaa gumugumu, na gumugumu huzaa teketeke.
Subj. Obj. Subj. Obj.

5. In some of the Kitendawili, we come across the use of display of words of sounds. For
example, in “Mzee kibogoyo anakaa porini akiwalamba watoto”. There is a display of
the sound [O].
Again, in “Nimekwenda kuwinda lakini sijui nitaua myama gani “Mjamzito” (pregnant
woman). There is also the display of sounds [i] and [a].
6. There is also the use of words with opposite meaning in some Kitendawili. For example;
1. Mama hana miguu, lakini mtoto ana miguu “kaburi” (grave).
Here mtoto is the opposite of mama. Trees planted on the grave refer to legs.
2. Hatukujui anakotoka wala anakokwenda, bali tunanwona akija na kuondoka
kwa njia mbili za ajabu “binadamu” (human being).
Here, anakotoka and anakokwenda have opposite meanings.

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