Xenson launches Villanguage

Samson ‘Kafulu Xenson’ Ssenkaaba is a showstopper of the uncommon kind. His style captures the eye not only because it is exceptional but it is unique, unusual and mostly unprecedented. His name Xenson is an imposing signature on city walls where raises very many questions while saying nothing.

And yet, we are told he is a poet which creates ample justification to the elusive layers that his name reveals. At art forums and discussions, where he can often be found, Xenson always asks to be allowed to close the meetings with a poem which takes the place as something ritualistic- like a closing prayer. And it is always about the social situation as his themes span the social-scape revealing the evils of corruption, the plight of AIDS or the consequences of injustice.

His design work always carries with it the tone of environmental awareness, using mostly recycled materials to put together a blend of eccentricity and creativity to enable function. On the onset, its was clear that the “Villanguage” album launch at the National Theater was going to be a comprehensive collage of art forms to include: spoken word poetry, hip hop, visual art and fashion.

The performances
The prediction was initially confirmed if one had to pick hints from the stage setup for the concert. The stage was adorned with worn recyclables. Tires had been heaped on the stage with a crumpled wire mesh hanging over-head and art pieces: the place looked like an artist’s dungeon of curiosities! Further back, a dull light revealed a backdrop with an illustration of skyscrapers that suggested a city.

This invocation of the city reminded me of a mantra that Xenson has been popular for spreading around the city (perhaps as famous as his graffiti paint signature) which on t-shirts reads: Kampala si kibuga kya ba fala; bwoba fala, ofa oli yala. It suggests street smartness but overall, it emphasizes knowledge. That, city life is not for the naïve, those who insist on naivety die poor, disillusioned and destitute. The implication is that survivors in Kampala must be aware, knowledgeable and conscious. This is what the ‘Villanguage’ was about.

A boomerang into a rural past pregnant with knowledge that is carried in the Village Language and must be applied in the city today to birth a new consciousness aided structured around eternal wisdom.

With a cat-like gait, further informed by a leopard-printed cloak, Xenson slouched onto the stage with an air of regality surrounding his dress. One of the initial pieces titled ‘Villanguage’ is an affirmation of this regality and in it, braggadocio attained a reality and self evidence. Staying clear of mythical possessions and imaginary cars that contemporary rappers have become pre-occupied with, Xenson boasted about his verbal prowess(perhaps a tribute to his understanding of poetry in vernacular) and it is evident because I could hear it.

A mouthy clash of tongue-tying syllables has been laid out with consummate ease at the same time allowing for clever double entendres which peak when Xenson urges ‘community’ and then infers that it is spirit of ‘common unity’. In his recitation, the obvious yet often ignored has also been given novelty as when he utters, “Peace prevails only when guns go silent”. If there was any doubt, the track which is also something akin to an album intro confirms that the album is entirely an explosion of polemics against societal ills, a message against the status quo which winds up to be at once vivid and technically of poetic essence. In ‘Mpandule’ which is transitioned with an answer and call chorus, Xenson addresses the scourge of AIDS without pulling punches.

Tough love is evident in his tone and his audiences are the naïve but proud lot who he informs that AIDS is indeed real and not respecter of persons. The drum infused ‘Muwe Bulo’ then finds the wordsmith aggressive yet sarcastic as he urges citizens to give corruption a much needed pounding.

His themes were decidedly social conscious and sometimes Xenson may sway and swoon on stage but it is not an invitation for the touchy- feely; it is like a meditative preparation for the next tirade against social ills.

The show also featured performances from poets from the Lantern Meet of Poets, Slim MC, Herbert Ssensamba and the all female trio Xzabu. There where also models showcasing his fashions while he performed and most impressive were the bags that had been crafted from used tires which served to give the show variety in terms of artforms all which Xenson excelled.