Fradreck Mujuru

Mbira Musician/Manufacturer

Fradreck Mujuru, was born 31 October 1955, in Dewedzo, Rusape. He is the second child in a family of three boys and one girl. He grew up in both the Mudewairi village of his mother, and at Dambatsoko, his father and grandfather’s village, after the separation of his parents.

The environment was full of traditional rituals and rites because Muchatera Mujuru, Fradreck’s grandfather, was a revered spirit medium. The village was a melting pot where many mbira musicians came to play for Muchatera’s spirit. Mujuru thus grew up with a keen interest in the instrument, because it was held in high esteem.

At the age of eight, Fradreck learnt to play the Mbira and his ability was soon recognised by the elders. Mujuru attended elementary school at St. Theresa Catholic Mission School where he joined the Choral Music Club. In 1969 Fradreck failed to continue his education due to lack of funds and for the following two years he worked as a general hand on the farms around the Rusape area.

In 1972, Fradreck was accepted into the prestigious circle of mbira musicians at Dambatsoko who played for Muchatera who included Ephat, Fungai, Samuel, Munyaradzi, Komboni, Musekiwa and Killian Mujuru. Fradreck moved to Harare in 1974, where he stayed and teamed up with his cousin Ephat Mujuru and they built a reputation for themselves playing at ceremonies almost every weekend.

The Chimurenga war of liberation was gathering momentum in rural Zimbabwe and social gatherings were closely monitored with anything bearing political connotations deemed unfavourable including the traditional biras. Zimbabwe’s independence in 1980 resurrected the old traditional rituals and rites that had been put on hold resumed in 1982 providing a platform for Fradreck to continue his craft.

Fradreck got interested in manufacturing the Mbira after receiving his first personal instrument from Ephat Mujuru in 1981 the instrument hurt his fingers and he vowed to improve on the instrument. He then apprenticed with Sekuru Gora (Thomas Wadharwa) and then Thomas Muda from Hwedza, who both emphasized the need for quality instruments. Mujuru began to specialize in making the mbira in Dambatsoko, tuning them the way the Mujurus had done for generations.

Through proceeds of mbira sales, Mujuru managed to send his children to school, including putting 3 through university. Fradreck also taught his sons, and a variety of other young people, the art of mbira making. His mbiras are now world-famous, and some are included in the collections of museums, as well as much loved by musicians playing them around the world.

Mukanya as he is popularly known is considered by many to be the greatest living mbira maker, as well as a highly respected musician. The instruments he built are now played on every continent!

He has toured Europe, South Africa and the United States performing and teaching including residencies at the prestigious Massachusetts Institute of Technology (MIT), Eastman School of Music, Grinnell College, Williams College, and the University of Michigan. He has developed his unique doctrine of mbira playing which encourages playing without adding Western instruments, without harmonizing voices just hosho, makwa (handclapping), mbira poetry, and the mbira itself.—NACZ.