In more than three decades in Kenya, I have several times come across 'taarab' music, a mixture of Arabic sounds and Swahili tradition, sung in the mother tongue of East Africa and with deep roots that are almost 200 years old, when Mombasa and Stone Town in Zanzibar were intriguing receptacles of original music and entertainment linked to unique evocations.
It happened at some Islamic wedding, full of colour and contradictions (women apart, even during the party) or in a hotel in Lamu, or at a private party of a self-styled son of a sultan.
Today, at a time when cultural musical styles have rapidly evolved, the taarab is struggling to maintain its identity. Contemporary influences have had a huge impact on the rhythms of this music, which today is radically different from what has been the distinctive sound of the east coast of Africa for generations.
Fortunately, there are still some bands that have retained the unique flavour of the music, rooted in Swahili poetry and rich instrumentation, amidst the fusion that has given birth to the heavily synthesised sound of the modern taarab.
Such is the case with the ensemble 'Lelele Africa', a taarab music group from Mombasa, which has been selected to represent Kenya at the 26th Festival de l'Imaginaire in Paris, France. 
Created in 1997 by the Maison des Cultures du Monde, the Festival de l'Imaginaire provides an open stage for the peoples and civilisations of the contemporary world and their lesser known or rarer forms of expression, contributing to dialogue, international cooperation and the defence of cultural diversity. The festival, a celebration of the diversity of artistic expressions from all over the world through music, dance and theatre, came to an end.
Originally sung in Arabic and later in Swahili, this music is both meditative and festive, appreciated for the quality of the singer's voice and the emotional power of the lyrics. Influenced by African, Arabic and Indian musical traditions, taarab has gradually introduced a wide range of instruments, mixing ancient and more modern sounds: tabla, harmonium, oud, qanun, accordion, guitar, etc. The group Lelele Africa, is today the last major representative of Kenyan taarab and plays an active role in the development of East African musical traditions.
"Taarab has changed and musicians now prefer shortcuts, especially electronic keyboards to create music," Mbarak Al-Haj, the group's founder, told Business Daily.
"But my group still plays authentic instruments such as accordion, violin, harmonium, tashkota and oud," adds the veteran composer, singer and multi-instrumentalist. The group has been preparing for the tour for almost two months and has added some new songs to its repertoire of traditional Taarab songs. Last week, they performed a pre-tour concert in Nairobi to present their repertoire before leaving for Paris.
In addition to favourite traditional Taarab songs, such as 'Kasha Langu', Mbarak has also written some new songs that resonate with the challenges the world is facing at the moment. One of these is Mazingira, which speaks of the impact of climate change, while Wewe Mtoto advises children to focus on education to secure a future in a difficult world.
Mbarak is also enthusiastic about the reaction to the song Pesa, which he says describes the high cost of living and how ordinary people have to toil all day just to put food on the table.
During Lelele Africa's performance in Nairobi, the 60-year old veteran wanted to introduce the young generation of Taarab musicians who can keep the reputation of the genre high in the future. In the group are two 20-year-old musicians: his daughter Zainab Mbarak, who performed a song Dharau Siwezi, written by herself, and oud player Ahmed Omar, who was introduced to the group by his father, also a stringed lute player.
"I am retiring soon, so I have this young generation in the group that can attract its peers to keep the traditional taarab alive in the future," says Mbarak. He expects this trip to France to introduce a unique musical genre in its original format to a wider audience.
"Even in Mombasa today, most people are surprised to hear our sound, because nowadays at weddings the music has changed," he notes.
"Current groups play a type of music that combines Taarab with Bongo Flavour, Rumba, even Nigerian music, so anything is possible. They don't compose, but rely on a mix of already popular songs'.
Mbarak was born in Faza, Lamu, and spent his childhood on the island, where his interest in music began at an early age, when he played instruments belonging to two community groups that were kept in their home.
He was influenced by an older brother who composed poetry (shairi), while his mother was a renowned performer at weddings and other cultural events. Mbarak started writing poetry and songs at the age of 12 and by secondary school had already joined a Taarab group on the island. With violinists Seif Omar and Mohammed Awaz and keyboardist Mohammed Adio, he formed Lelele Africa in 1995, an onomatopoeic name inspired by the 'la la la' sung by the audience during concerts. In recent years, both Omar and Awaz have died and Adio has left the group, which has survived thanks to the bandleader who has brought younger, highly trained musicians on stage.
Lelele Africa in France performed with a seven-piece band, along with guest guitarist Eddie Grey. Taarab remains a niche genre, but it has many admirers and is an engaging and timeless music, too little known in Kenya.