Music of Zimbabwe
Zimbabwean music is heavily reliant on the use of instruments such as the mbira, Ngoma drums and hosho. Their music symbolizes much more than a simple rhythm, as the folk and pop style styled music was used as a symbol of hope for Zimbabweans looking to gain independence from Rhodesia.[1] Music has played a significant role in the history of Zimbabwe, from a vital role in the traditional Bira ceremony used to call on ancestral spirits, to protest songs during the struggle for independence.[2] The community in Zimbabwe used music to voice their resistance to their oppression, as one of the only weapons they had available to fight back with.[1] In the eighties, the Music of Zimbabwe was at the center of the African Music scene thanks to genres such as Sungura and Jit. However, several performers were banned by state TV and radio leading to the closing of several music venues.[3]
Instruments[edit]
Mbira[edit]
The mbira is an integral part of Zimbabwean music.[2][14] Classified by musicologists as a lamellaphone, part of the plucked idiophone family, it is created from things found in nature such as a wooden board (often fitted with a resonator) and tines. It is frequently played in a deze (calabash resonator) which amplifies the sound and augments using shells or bottle caps placed around the edges. Often accompanied by the hosho, a percussion instrument, the mbira is often an important instrument that people play at religious ceremonies, weddings, and other social gatherings. The mbira plays a central role in the traditional Bira ceremony used to call on ancestral spirits.[14]
The instrument is a central piece in their religious rituals. The most important function of mbira is the idea of it being a "telephone to the spirits" during ceremonies. It is the sole way of communication between the living and deceased ancestors, ancient tribal guardians, or guardian spirits. The mbira is required to ask these spirits to bring rain during drought, stop rain during floods, accept their offerings, ask for forgiveness, and bring clouds when crops are damaged by the sun.[15] These instruments were made from resources from the land which connected them further connects the indigenous people to their land and this deep connection has helped communities in Zimbabwe to continue their tradition of mbira music despite the development of colonialism.[16]
The sound made by this instrument closely imitates the noises made by rain or running water with rich and vibrant tones "like bells". The sound has a special presence; one that feel the music as much as one hears it.[17] Penetrating and warming at the same time, immediately capturing the involvement of the listeners and drawing them into its mood. The pieces of music played vary by the artist but there is no specific way to play this instrument. The music performed is all about elaboration and variation supporting creative expression of the performer.[16]
Bulawayo[edit]
The Ndebele-dominated region of the southwest of Zimbabwe, including the city Bulawayo, has been instrumental in the development of Zimbabwean music. Seminal 1950s guitarist George Sibanda had a following across Africa and was the writer for the hit song Guabi Guabi which is sung all over the world,[23][24] and Dorothy Masuka was a major player on the South African jazz scene, for example. Among the most popular performers of the region within Zimbabwe, however, was 1980s Ndebele pop sensation Lovemore Majaivana. Ndebele musicians who are active are Black Umfolosi, Insingizi Majahawodwa Ndlovu, Sandra Ndebele, Lwazi Tshabangu, Kuxxman, Go Boyz, Achuzi, Beate Mangethe, Vusa Mkhaya, Afrika Revenge and Ramadu. The marginalisation of Bulawayo artists in Zimbabwe saw the influence of South African music dominating hence the emergence of kwaito music in Bulawayo pioneered by Go-Boyz in 1996 and more groups like GTI, Achuzi, Amagangsters, artists like Cal Vin etc., emerged. A brand of Jazz was created in Bulawayo, in the 1940s and 1950s, and was made popular by August Musarurwa with his African Dance Band of the Cold Storage Commission of Southern Rhodesia. He recorded the legendary song Sikokiana which went on to be recorded in USA by Louis Armstrong and many others.
Lyrics[edit]
Zimbabwean musicians' lyrics mostly contain encouragement of upholding good social values in the family and society as whole. Such lyrics can be seen in songs by artists like Oliver Mtukudzi, Simon Chimbetu and Suluman Chimbetu the Harare 10-piece Afro-fusion band Nehoreka, Louis Mhlanga, John Chibadura, Steve Makoni, and Bhundu Boys. However, the lyrics of Thomas Mapfumo are political, praising just leadership and encouraging rising up against bad governance. Many of his albums are named after a word meaning uprising or war of liberation: Chimurenga. His music earned him the wrath of the ZANU-PF government resulting in the banning of most of his music on state owned radio and TV. Another musician with striking lyrics is the late System Tazvida of the Chazezesa Challengers. His lyrics were mostly centered on love and relationships, with songs like Anodyiwa Haataure, Ukarambwa Usachema, Vanotipedzera Mashoko and Dai Hanzvadzi Yairoorwa, with which he achieved popularity. With the emergence of the Urban Grooves-style, the content of lyrics shifted to more closely resemble that of American RnB, Hip Hop and Pop music. These have garnered a following among a younger generation of Zimbabweans. One artist, Maskiri, is known for imitating Eminem's style of controversial lyrics.