BY MICHELINA ANDREUCCI
The Music of Zimbabwe is more diverse than meets the ear.
With the impetus nowadays to re-discover and redeem one’s distant past, it is fit that we include our indigenous musical instruments.
There are a variety of rich indigenous musical sounds apart from the Mbira, Ngoma (drum) and Hosho (gourd seed rattles). The pan pipes are amongst Zimbabwean musical instruments that are nearing extinction.
A study of traditional music of Zimbabwe reveals as much about the people, their spiritual and traditional beliefs, their modes of expression, patterns of communication and forms of entertainment, as any other aspect of the culture.
The functions of music were many fold; music accompanied work, induced happiness – “pagungano” (at a social gathering), accompanied communal tasks such as tilling, grain pounding and harvesting; lamentations, funeral processions, hunting and battle preparation, victory songs and celebration – “kupembera”. Music communicated with the higher dimension of the ancestors as generational historical memory. The energy and dynamism of traditional musical performances was originally directed towards the culmination of a ritual ceremony.
Traditional reed pipes In Zimbabwe are a generational instrument of memory and sound. Pan Pipes have various names, depending on their origins, region and clan who produce them. For some it is known as the “Pembe”, for others “muridzo-tsanga” – which translates to “reed whistle”. Most Zimbabwean clan groups created their pan-pipes from an indigenous cane known as “musengere” or “mushenjeri”, which is a hollow bamboo reed found near water bodies or wetlands.
The figurated pastoral music created by the pan-pipes has a florid, naturalistic sound reminiscent of birdsong and water. Indigenous Zimbabwean folk musicians have incorporated its rhythms and melodic characteristics into complex, subtle and effective ideophonic musical forms.
Sadly however, according to post-colonial Heritage guru and musician, Dr. Tony Monda, “music is an integral part of our heritage . . . Colonial environmental and historical impact upon this heritage has been such that the role of traditional music in the daily lives of the communities has been greatly reduced and relegated to private ceremony or scholarly competitions and musical exhibitions.
Equally regrettable is that the cultural occasions at which traditional instruments were played are no longer a significant a part of the lives of many urban Zimbabweans. Effectively, our music has been eroded from its positive communal role and space. The many original sounds in our rich Zimbabwean music are at risk of fading away and vanishing altogether and need to be revived for posterity”.
Organic and ergonomic Zimbabwean musical instruments were made using natural materials such as wood, animal horns, animal hides, sinew, gourds, pods and seeds; all of which retained their acoustic qualities when seasoned and dried.
The natural sounds of the earth, wind and water provided the source of inspiration for the music and many musicians incorporated the melodies of nature into their musical compositions. Music also played a powerful educational role for the young in our society, and it was an indispensible part of children’s orature, games, song and dance.
Pandean reed pipes, commonly referred to as Pan Pipes, are an ancient instrument made from a bundle of reeds, usually of seven graded lengths, and fashioned into a string of harmonic reed pipes, producing a scale of different notes.
It is found from East Africa, Zambia, Malawi, South Africa and Zimbabwe; where in Shona the Pan Pipes are known as “Ngororombe”.
These pipes emit a gentle organic, harmonious, whistling sound, evocative of nature; usually associated with people living on mountainous areas such the Eastern Highlands of Nyanga in Zimbabwe, where flocks often wondered and the pan pipes were used to call the herd together.
According to legend and to Greek mythology, Pan is the goat-footed Arcadian deity of nature. He took seven pieces of reeds of unequal lengths and tying them together horizontally, made a musical instrument known as Pandean Pan Pipes.
A central figure in Greek mythology, Pan is the pastoral deity of fields, woods, shepherds and their flocks, woods and pastures; characterised as an eternal young man with goat’s legs, horns and ears. he plays the pan pipes so his herds can follow him.
Half-goat and half-man, Pan is in fact, a hybrid being. These pipes were originally named after the fair nymph Syrinx, an Arcadian nymph beloved of Pan.
The melody produced by the syrinx is associated with the sound of wind and water.
Pan Pipes produce, organic natural sounds, borrowed from nature. In Zimbabwe the pan pipes are associated with indigenous people wandering about constantly seeking rivers, streams and pastures in search of fresh fodder for the sustenance of their herds.
The music of the pan pipe is as authentic and genuine as the vegetation that grows out of the native soil.
It is made of reeds found near water bodies, and in mountainous marshy areas. Due to its size and portability this wind instrument was favoured by herdsmen and travellers.
Along with the “Chipendani” – the mouth bow, the sound of pan pipe music accompanied them along their travels and travails.
Pan Pipe players gave form to the indigenous orature of the people. This way an assortment of early melodies were taught, improvised and retained in one’s memory without the need for written musical notes.
As a result, the music produced was more spontaneous, lyrical and original, and
served as the main repertoire. Its source was founded in African indigenous philosophy, particularly the philosophy of memory, sound, diction and onomatopoeia as a central binding force of people’s histories.
In August and September “Nyamavhuvhu”- the winds that whistle through and amongst the water reeds and shallows of the Zambezi River are said to have given rise to the original sound and the making of the instrument. The pastoral music of pan pipes is an honest sound with texture, full of colour, lightness, richness and delight. It is a music grown out of our indigenous natural
environment; the soil, water, wind and the earth of Zimbabwe. For most African people Music communicates in a language that surpasses words, lyrics or chants.
A beautiful language of forgotten sounds from the depths of our Zimbabwean indigenous musical memory it is still whistled by pastoral herd boys in which the traditions and orature of our people find a lasting repository.
Which is why the creation of music in Zimbabwe in ancient times, was the domain of spiritual aristocracy.
Musicians were chosen according to their lineage, to become musicians and present their music at Courts as performers; it was the highest accolade for artistes – Ana Gwenyambira, ne varidzi vengoma ne hosho.
Traditional Zimbabwean music was a divine and spiritual art form. The persuasive, enchanting and soothing appeal of indigenous pan pipes can invigorate and bring a fresh revival to Zimbabwean folk music.
The persuasive and enchanting appeal of the pan pipes have seduced many of have heard it and the soothing appeal of the pan pipes can invigorate and bring a new revival to Zimbabwean folk Music. The honest rustic music, sound, texture and craftsmanship is full of colour, cultural innuendoes and delightful of wit. We should never be at a loss for new indigenous melodies!
Dr. Michelina Andreucci is a Zimbabwean-Italian researcher, and a published author in her field. For Comments E-mail: linamanucci@gmail.com
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