By DR TONY MONDA
Emanating from the bowels of Zimbabwean soil, echoing atop the granite hillocks, hollering from within the foreboding caves and travelling with the winds, is the wholly indigenous sacred, rippling sound of the Mbira of Zimbabwe. Known as “mbira dzavadzimu” – the instrument is said to represent the voice of the ancestors and is the iconic national instrument of Zimbabwe. It is a musical instrument that has been played by the Shona people of Zimbabwe for thousands
of years.
The Mbira dzavadzimu is frequently played at religious ceremonies and social gatherings called “maBira”. The ancestral sound of Zimbabwe is that of the mbira, or senza.
It has a mantra which is mellow, enchanting, soothing and hypnotic, which amplifies the sound of nature itself. It is believed to date back to the iron age of Zimbabwe, 1 516 years ago, which alludes to the age of the Mbira. The Mbira is intimately associated with the socio-cultural beliefs and religion of the people of Zimbabwe. Within the Shona tradition the instrument is usually played to summon and facilitate communication with ancestral spirits.
During a ritual known as “Bira”, advice is sought for the community on rainmaking, health, wealth, societal, ecology, marriage, political guidance, stewardship of animal husbandry, installation of chiefs, succession, child birth, and other issues, ceremonies and cures concerning the holistic being of the people.
The variations of notes in an Mbira piece aid the participants to enter into a trance state and facilitate the spirits in taking over the participant’s body. During these ceremonies, people receive guidance from the spirits of family ancestors – vadzimu, spirits of deceased chiefs – Mhondoro. The cathartic importance of Mbira’s homeopathic virtues cannot be underrated and overlooked.
The Mbira is also an endemically Pan-African instrument, found throughout East, Central and Southern Africa. It can also be found amongst the Djembe musicians in parts of North Africa, such as Mali and Senegal. The Gamelan is a Diasporic version of Mbira from Indonesia. Additionally, variations of the instrument are also found in countries such as, Malaysia, India, Java, etc., all of whom have their own versions of the Mbira. It is however, quintessentially unique to Zimbabwean traditional culture. It is also known by many names and forms, such as Kalimba, Likembe, Mbila and Sanza originating in East Africa.
Different types of Mbira are used in different regions in cultural specific spiritual ceremonies
Despite attempts by the Colonial missionaries in the mid-1940 onwards to wipe out the use of Mbira by superimposing their brand of Christian music on the religion of the people through the confiscation and destruction of the instrument of culture, the Mbira resisted all Western cultural onslaughts.
Unlike Western music, Mbira music is both, religious and secular music. Indigenous musicians through playing the instruments brought religion to the people. Moral messages in the lyrics sung to Mbira music also ensured that the natural resources and ecology were well managed and understood in order to preserve the natural ecological balance.
More recently, veteran Mbira players Stella Chiweshe’s mbira hit “Cha Chimurenga”, and Thomas
Mapfumo’s revolutionary odes “Jojo” and “Chimurenga” resulted in this type of music being labelled “Chimurenga music”. All these socio-political songs have their roots in the Mbira ethos.
Mbira musicians narrate in song, ancient wisdom and proverbs that are still relevant in today’s social setting. Whilst some songs recall historic events such as the First and Second Chimurenga of the late 1800’s and the mid-1900’s, other songs illustrate heroic folklore that contributed in a significant way to the cordial functioning of a community – from our relationship with the environment to cultural politics and family life.
There are many variations found amongst individual Mbira exponents in Zimbabwe. Whilst “Pop” music changes overtime, the Mbira remains resilient and constant; it is an instrument with timeless appeal.
Contemporary Zimbabwean musicians who have incorporated electric guitars, synthesizers and
keyboards to their Mbira sound such as Chiwoniso Maraire, Thomas Mapfumo, Stella Chiweshe, Oliver Mtukudzi and the Late Andy Brown and Adam Chisvo, amongst others, still make use of the traditional notations. Tunings of the Mbira have often been idiosyncratic with variations overtime. Mbira is the most archetypal of African musical invention and origin, known and brought to the
Americas by the descendants of the Slave Trade between the 15 th and 19 th Centuries. Memories of the rhythms of sub-Saharan Africa which were transmitted through the Atlantic Slave Trade have influenced modern Blues, Reggae, Samba, Blues, Jazz, Hip Hop and Rock music, as well as the complex choral singing of African-American Spiritual Hymnals.
Originally an exclusive male domain, played only by men, it has now been said that even the elders and ancestors approve of gender equality and allow certain gifted women to practice the craft. The Mbira is currently a core subject for both male and female students at the Zimbabwe College of Music, which continues a tradition of custodial connections to the past. The lyrics however, have evolved to suit the changing times.
The astute and erudite Mbira players of the past and present express their concern regarding modern- day environmental degradation and the impact of mechanisation that negatively impacts on our natural resources. They are also the musical barometer of our socio-cultural, political and economic environment, as well as our health and holistic spiritual consciousness.
Mbira educates, entertains and records history. It constitutes, both tangible and intangible heritage of the Nation of Zimbabwe, and preserves our identity as a people.
In our decade of African Renaissance and the reclamation of our indigenous intangible culture, it is ever so important that Zimbabweans preserve and conduct further research our authentic musical identity.
More patronage, visibility and support should be forthcoming from the Ministry of Education, Sports Art and Culture, the National Arts Council, the Culture Fund of Zimbabwe, Museums under the auspices of Home Affairs, and the Ministry of Tourism.
Mbira musicians and scholars, who have dedicated themselves to preserving our culture and
communicating our social values to the world, should be granted National recognition. From this lengthy discourse, it is hoped that Zimbabweans will appreciate and embrace one of the last intact bastions of our culture – the Art and Sound of the Mbira – An instrument of resistance!
Dr. Tony Monda holds a PhD. in Art Theory and Philosophy and a DBA in Post-Colonial Heritage Studies. E-mail:
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