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The new song release Wajinga Nyinyi by King Kaka will occupy analysts for a while. King Kaka, known off stage as Kennedy Ombima, also goes by other names such as the Rabbit or Kaka Sungura.

Many may have not known about him for rapping is a specialised genre that has a niche appeal, but that was then.

His song “Wajinga Nyinyi” has rubbed many powerful people the wrong way. That was to be expected the moment it was released. In fact, the song rubs the entire society the wrong way by first labelling what may be considered the masses as “wajinga”. 

Those who break language apart will note that by titling the song wajinga nyinyi Kaka Sungura separates himself from masses which is then the “wajinga” and soars above it as probably the only “muerevu”.

What have these wajinga done? Many things really, but simply put they have voted into office the other wajinga whom he lists in his song. Essentially, there are two categories of wajinga in the song: those who were voted in the office and those who voted them in the office.

By implication, there is a third category of members of society among whom Kaka Sungura falls – those who are able to see the folly of the other two category of wanjingas.

Ideally, Kaka Sungura’s song should anger the wider society. But the downtrodden always identify with the less powerful, the underdog.

And so those mentioned in the song, the second category of the wajinga, would, as expected take it out on this underdog called Kaka Sungura through their rehearsed approaches of suits, condemnations and harm.

But Kaka Sungura beats them at this by first proclaiming that his life is in danger and waits for what come may knowing that public sympathy will be with him.

This is the danger that those in power face in trying to deal with the rapper. How do you take him on without appearing to be taking on the larger society as well?

The Directorate of Criminal Investigations smells this from afar and keeps away from it.

The appeal of the song is at an emotional level in a raw form that many in society will identify with. Kaka Sungura comes out as an angry voice of conscience stirring the masses.

You leave him alone then the song survives below the radar providing currency for everyday conversations but probably in a less threatening way for the powerful.

The song does not lend itself to being listened to many times over. It is not in the category of Franco’s “Mario”, that is not only easy to dance to and to which some will sing along and which has had a long staying power. 

It is probably in the category of a conversation start up to which people will discuss in generalities and probably move on.

But the longer you keep the song in the news through either court cases in the form of defamation suits or harassment of the artiste and the likelihood that you stir the wrath of the masses and turn their anger against the ruling class.

It is, therefore, not a surprise that there has not been a rush to prosecute him for the ruling class can’t be that stupid.

The danger for the ruling class is that there is a trend and the artiste will be alive to it. The number of songs that have come out as commentaries on society’s ills is increasing. 

Eric Wainaina’s Nchi ya Kitu Kidogo has been probably the most popular but it does not punch in as much anger as Wajinga Nyinyi does. The ruling class must then tread carefully.

Nothing will stir the masses as these voices of conscience that will communicate with them in their language and at their level stirring emotions that are simply too difficult to deal with.

These masses cannot be bludgeoned into submission and libel suits will only serve as the fuel that feeds into them.

 There is only one answer: the bourgeois must change their ways and be responsive to the needs of the hoi polloi. It is the only answer to wajinga nyinyi.— The writer is the dean, School of Communication, Daystar University