By Hilja Shikongo
An emerging voice is steadily carving its space in Namibia’s music industry, blending Oshiwambo idioms, cultural heritage and modern Afro-pop rhythms into a distinctive sound. Omfenhu Wanangula, a rising rapper and vocalist, says his journey into music comes from culture.
Born in Eenhana and raised by his late great-grandmother Esther Wamti Pangeiko before moving to his grandmother in Onangava village near Okongo, Wanangula describes his upbringing as the foundation of his artistry.
It was during those early years that his love for singing began to show. “My grandmother noticed I loved singing. She even named me ‘Kangwe Kange Keenyala’,” Wanangula recalls.
He later returned to his parents in 2007 after they married and settled in Ondjodjo village, where he attended Antonius Shilamba Kindergarten and later Ondjodjo Combined School, where he become the school’s first-ever head boy.
Although music surrounded him from a young age, Wanangula says he did not initially envision himself as a professional artist.
“Growing up, my grandmother always praised me as her talented boy, but I never had a vision of being an artist. I used to sing in choirs and at school on Sundays because I was raised in a household that believed in Christ,” he added.
According top Wanangula it was only in October last year that he began experimenting seriously with music and he notes: “I started doing self-tests to see if I could rap in Oshiwambo.” He adds that being around established musicians such as the late Ras Sheehama and listening to Tate Kwela also inspired him. “I always wanted to see myself on television and hear myself on the radio. Most definitely, seeing myself in places I never imagined, like travelling because of my talent.” Apart from music, Wanangula also sketches and designs.
Now five months into the Namibian music industry, he admits his sudden entry into the creative space surprised some family members.
“Different assumptions and views started coming in this year as they were shocked as to when I started with this music thing. Some are overwhelmed with high expectations that I will go far and obviously some are opposing this. But that does not affect the fact that I believe in myself and I am going to push my art.”
Describing his sound as “rap on Afro-pop and dancehall beats and at the same time a vocalist”. He says he draws inspiration from both local and international acts.
“Mostly from the country I would say Tesh Lavo, Qonja, Tate Kwela and Chipolopolo. Outside artists like Capleton and Vybz Kartel.”
However, it is the Oshiwambo culture that remains at the core of his creative process, he notes. “The Oshiwambo idioms and norms. I enjoy Oshiwambo poetry so much. I am invested in the culture of how our grandparents used to live in the old days.”
Wanangula explained that many of his songs are born spontaneously in the studio. “Most of the songs I have released or featured on were not written. I mostly freestyle in the studio and record.”
On his track ‘EHEEM’, Wanangula says he reflected on traditional teachings. “With ‘EHEEM’ I reflected back on the idioms and the space that I was raised in, how a small boy has to show elders that they are now grown. I had to blend in deep poetry.”
Meanwhile, ‘Bubble Gum’ featuring Page Ethnix, took a lighter approach and he indicates: “We did not lay any foundation to what type of song we would make. We just hit the studio, got a beat from Focus the Producer and decided to name it ‘Bubble Gum’. It came out a hit. It is a song one can vibe to during parties.”
Among his catalogue, ‘Tsiki Tsiki Yoo’ remains particularly significant.
“This song introduced me into the game and opened doors for me. I never knew I would have songs on the internet until I released it. I really felt good when it popped up online,” he says.
Wanangula says his project ‘The Chronicles of Kawa Kawa Kange’ which includes “Nangula Dompolo,” highlights cultural identity.
“Nangula Dompolo tells how a Kwanyama guy explains himself to a lady he is attracted to. It emphasises the true cultural heritage of Kwanyama men when they are proposing in their poetic manner.”
While he expresses gratitude for every project, Wanangula acknowledges challenges faced by emerging artists, particularly financial constraints.
Despite criticism, he remains steadfast and believes: “Criticising me is normal. I do not have the urge to be liked by everyone. Even Jesus who saved the world was killed by people.”
“Embrace your cultural roots and find creative ideas in honouring it. Consistency, respect and patience is the key to the game. Do not be ashamed of promoting your art. Protect your art at all cost and pray. With God everything is possible.”
