For many years, the Nyatiti was the heartbeat of entertainment in the Luo community. No celebration, whether a wedding or a memorial service, was complete without a Nyatiti or Ohangla (Orutu) player to entertain the gathered guests.
However, with the rise of the guitar and other modern instruments, the beloved Nyatiti has gradually been pushed to the background. The once-celebrated instrument now struggles for attention as younger generations show little interest in learning how to play it, despite its deep cultural significance.
As the seasoned musicians who once played the eight-stringed instrument begin to age, few young people seem eager to carry the torch. Fortunately, the introduction of the Competency-Based Curriculum (CBC) in Kenya’s education system is helping to revive interest in traditional music. Music teachers and passionate Nyatiti enthusiasts are seizing this opportunity to pass on their knowledge to the youth.
One such enthusiast is Charles Obong’o Makomenda, also known as Obong’o Nyundo, who is dedicated to both training young musicians and crafting traditional Nyatiti instruments. Among his students are pupils from Ulawe Apate Primary School in Alego/Usonga, who have become skilled players and have won trophies at the national level during schools’ music festivals.
Obong’o believes it is crucial to make concerted efforts to preserve Luo traditional music and instruments. “We should not let Nyatiti fade into oblivion,” he emphasizes. He laments the decline of events where Nyatiti musicians are invited to perform, as such forums are being replaced by the more modern Ohangla music.
Obong’o explains that the Nyatiti is more than just a musical instrument for beats and dancing; it carries important moral teachings and messages that were historically used to educate society.
His own journey into Nyatiti music began in 1963, and by 1964, he was competing against established players. However, a tragic incident in his life—blamed on the envy of those he outperformed—left him unable to walk for an entire year. He suspects that fellow musicians may have cursed him to slow him down.
After numerous unsuccessful medical treatments, his father considered amputation, but his mother’s persistence, along with the help of a traditional medicine man, ultimately helped him recover and regain the use of his legs. After his recovery, Obong’o decided to retire from competitive playing and focus on making Nyatiti instruments and teaching others how to play.
Now, he devotes his time to crafting Nyatiti and offering free training to those interested. He views this voluntary work as his way of keeping the tradition alive. Over the years, he has trained musicians from various backgrounds, including a Japanese woman, but he expresses concern that few Luo people truly appreciate the significance of their traditional music, as many have become infatuated with Western-influenced genres.
On the materials used to craft the instrument, Obong’o says he prefers specific types of trees, such as “ondero,” “ng’ow,” and “mugomra,” due to their durability. However, with some of these trees becoming scarce, he sometimes has to resort to using mango wood. He worries that foreigners, who are increasingly interested in learning Nyatiti music, may eventually claim ownership of the instrument, leading to royalties being demanded for playing something that rightfully belongs to the Luo people.
These concerns are echoed by Nyatiti legend William Ogutu Omondi from Alego Seje, who has been playing the instrument since 1950. He insists that Nyatiti should not be overshadowed by modern music. “In the past, at every celebration—whether it was a dowry payment or a funeral—each guest would invite their favorite musician to entertain,” he recalls. “Sadly, that is no longer the case, and Nyatiti players are now limited to occasional invitations to perform in urban areas.”
Mzee Ogutu believes that local governments can still help rekindle the younger generation’s interest in Nyatiti by involving elder musicians in training the youth.
Teachers such as Jared Otieno from Ulawe Apate Junior School and Thomas Amollo from Pap Boro Primary School are already taking steps to revive the tradition. Both have been working with the elderly Nyatiti masters to teach their students the art of playing the instrument.
Otieno reports that his students have made significant progress, and some have triumphed in music festivals, winning trophies at the national level. “Over the years, Ulawe Apate has become a powerhouse in music competitions, especially in traditional instruments,” he states. In 2024, his students won in the Nyatiti and Orutu categories at the national music festival.
Amollo, whose school participated in the festival for the first time this year, shares Otieno’s enthusiasm. He says, “We want the youth to grow up with Nyatiti, so in the next 10 to 15 years, the music will be back and embraced by society.” Amollo urges the younger generation to reconsider their perception of the music as outdated, explaining that there is potential for them to make a living from it.
Nyatiti is an eight-stringed instrument made from a carved wooden resonator covered with cowhide. Traditionally, the strings were made from cattle tendons, but today, nylon and plastic fishing lines of varying thickness are used. To play the Nyatiti, the performer sits on a short chair called “Orindi” or “then,” and wears shakers (gara) as well as a metal ring on their big toe. The toe ring is used to strike the bottom bar of the instrument, creating a rhythmic beat. The combination of the strings, shakers, and toe-ring strikes produces a rich and harmonious sound. While typically played solo, some musicians include backup singers to enhance the performance.
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