Independent Tanzania became a prominent frontline state in the struggle against white minority regimes in the early 1960s and remained committed to the total liberation of Africa until South African repatriations in the early 1990s. For three decades the country was a hub of Pan-Africanism and saw an extraordinarily high involvement of Tanzanians in supporting the southern African liberation movements in ways that went beyond TANU/CCM’s primary directions. While some research has been done on the daily interactions, relationships and tensions in the ANC/MK and SWAPO settlements and military training camps as well as in the nearby towns and villages that hosted them, this article shifts the focus from the camps and their surroundings to the forging of solidarity and transnational connections in urban leisure spaces, particularly the music scene. It seeks to bring to light both the enduring and fleeting intimate relations and everyday forms of conviviality between South Africans and Tanzanians which were produced in Dar es Salaam’s nightclubs. The central argument is that artistic collaborations with South Africans outside the camps not only amplified and solidified Tanzanians’ ability to transcend the idea of the national, but were key to the shaping of a specific form of grassroots pan-Africanism that I will call ‘convivial transnational solidarity’. The latter is intended as a practice rather than as an ideology. As I will show, the urban soundscape was central to its emergence. The article first charts how national politics – a key aspect of which was the duty to embrace transnational solidarity – extended into the lower echelons of Tanzanian society through the airwaves, the press and liberation songs. Following the trajectory of the Tanzanian band Afro-70 and its leader Patrick Balidisya, it then examines the everyday acts of welcoming that unfolded in Dar es Salaam’s music scene during the brief historical juncture between 1969 and 1977, which coincided with ujamaa and with Afro-70’s rise and demise. The last part of the article problematises the process of total liberation and the idea of transnational solidarity by exposing their fragility.

中文翻译：

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Ujamaa Dar es Salaam中的跨国音乐合作，情感网络和日常团结活动

坦桑尼亚独立在1960年代初期成为反对白人少数派政权的重要一线国家，并一直致力于非洲的全面解放，直到1990年代初期南非被遣返为止。在过去的三十年中，该国一直是泛非主义的中心，坦桑尼亚人以超出TANU / CCM主要方向的方式大力支持南部非洲解放运动。尽管已经对ANC / MK和SWAPO定居点和军事训练营以及托管它们的附近城镇和村庄中的日常互动，关系和紧张局势进行了一些研究，但本文将重点转移到了营地及其周围地区在城市休闲空间，特别是音乐界中，建立团结和跨国联系。它试图揭示在达累斯萨拉姆的夜总会中产生的持久性和短暂的亲密关系以及南非人和坦桑尼亚人之间的日常欢乐形式。中心论点是，与难民营外的南非人的艺术合作不仅扩大和巩固了坦桑尼亚人超越民族观念的能力，而且对于塑造一种特殊的草根泛非洲主义（我称之为“欢乐的”）至关重要。跨国团结”。后者旨在作为一种实践而不是一种意识形态。正如我将要展示的那样，城市声景是其兴起的关键。本文首先介绍了国家政治如何通过电波扩展到坦桑尼亚社会的下层，而国家政治的一个重要方面是拥抱跨国团结的责任，新闻和解放歌曲。按照坦桑尼亚Afro-70乐队及其领导者Patrick Balidisya的轨迹，然后研究在1969年至1977年的短暂历史关头，达累斯萨拉姆音乐界所表现出的日常欢迎行为，恰好与ujamaa和Afro- 70年代的兴衰。文章的最后部分通过暴露他们的脆弱性来质疑完全解放的过程和跨国团结的思想。