At 44, Richard Okindo Ombuna has spent years chasing a dream whose rewards have yet to match his sacrifices.
Known to his fans as Professor, the father of four from Nyaribari Masaba has made traditional Gusii music his livelihood, holding on to the strings of the obokano even when the returns have been painfully small.
His story is one of raw talent, unrelenting determination and a cultural calling that began in childhood.
Yet, behind the music, applause and encounters with prominent personalities lies a man struggling to turn his passion into a sustainable livelihood while preserving a tradition he fears could fade with time.
“I used to participate in music activities in both primary and high school, sometimes plucking my way to national music competitions,” he told NationAlert late Tuesday.
Those early experiences appear to had helped him discover his calling long before he could imagine where it would lead him.
Today, fans call him Professor because of his versatility in playing different musical instruments and performing various styles of music.
“I believe learning early what you want in life prepares you to know how to milk opportunities out of it,” he says.
Unlike many who pursue higher education before settling on a career, Ombuna chose another path.
He did not proceed to university, instead he poured his energy into music full-time.
“I have poured myself into music full-time. This is what feeds my family,” he says.
It is a decision that has demanded years of sacrifice, with music becoming both his source of livelihood and an unending test of resilience.
A dream born from borrowed strings
Ombuna traces his musical journey to 2010, when he began learning and practising the obokano, the traditional stringed instrument deeply rooted in Gusii cultural identity.
He did not have the money to buy one. Instead, he relied on a borrowed instrument, nurturing his talent one practice session at a time.
“I had the passion, but I lacked the resources. I kept learning and improving until I managed to buy my own,” he recalls.
In 2011, he finally acquired his own obokano. It was a modest breakthrough, but one that gave him the freedom to practise, refine his skills and pursue music on his own terms.
For Ombuna, however, the instrument represents more than a means of earning money. Its strings carry stories, memories and a cultural inheritance passed down through generations.
He even suspects his musical calling may have ancestral roots.
“I think there is an ancestral hand in what I am doing,” he says, referring to his late great-grandfather.
Years of struggle have not silenced his ambitions. If anything, they appear to have strengthened his determination to keep moving.
“If you stop dreaming, you stop living,” he says.
When applause does not pay the bills
But the journey has not been as rewarding as he had hoped.
Ombuna speaks candidly about poor remuneration, financial hardship and what he describes as exploitation by brokers who connect musicians to clients but, in his view, leave performers with less than they deserve.
For a man who has devoted much of his life to keeping Gusii musical traditions alive, the gap between cultural contribution and financial reward is a source of deep frustration.
“It is painful to dedicate your time and talent to preserving our culture, only to earn so little from your performances,” he says.
“Musicians deserve appreciation not just through applause, but also through fair payment.”
His complaint touches on a broader challenge facing traditional artists, whose performances preserve customs, entertain audiences and keep community histories alive, yet do not always translate into reliable incomes.
Ombuna says greater transparency in booking arrangements and fair compensation would help musicians earn a decent living from their work.
He has performed before or interacted with prominent personalities, including Professor Sam Ongeri, the late Sharif Nasir and the late Karisa Maitha. He also says he has encountered Kisii Governor Simba Arati and former governor James Ongwae during public functions.
Yet such encounters have not necessarily brought the financial stability he needs to support his family.
“Meeting prominent people is encouraging, but recognition alone cannot pay bills or support a family,” he says. “Musicians need opportunities to earn a decent living from their talent.”
Keeping the obokano alive
Beyond his personal struggles, Ombuna is concerned about the future of traditional Gusii music.
He wants to mentor young people interested in playing the obokano, passing on the skills and knowledge that have sustained the instrument across generations.
For him, preserving the music means protecting more than melodies. It means safeguarding a part of the Abagusii identity and ensuring that younger generations understand the cultural significance of their heritage.
He is appealing for financial support to expand his musical activities, improve his capacity and reach wider audiences.
“I want to mentor young musicians and help preserve our culture. I started with little, but with support, we can give the next generation better opportunities,” he says.
His journey has taken him from school music competitions to a full-time career built on borrowed strings, relentless practice and the courage to pursue an unconventional dream.
At 44, Ombuna remains a man of music, still reaching for opportunities that could transform his years of sacrifice into lasting financial security.
For now, the rewards remain modest, but his resolve endures. And as his fingers move across the strings of the obokano, he continues to hold on to a dream bigger than himself: keeping the sound of Gusii culture alive, even when the musician behind it struggles to make a living.
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