Mbira Music the Soul of Shona Culture and Religion
A chat between a young Mbira expert Blessing Hakurekwi and Shona culture enthusiast Milton S Kambarami (Author) on the history, meaning and uses of the Mbira instrument in the Shona tribes.
Blessing has traveled around Zimbabwe learning about Mbira music. He has also played Mbira with a number of popular Zimbabwean Mbira artists.
The article is composed of oral tradition compiled by Blessing and some of the research I did as well on the subject.
Introduction
Mbira is used to denote the instrument that is used to produce sounds, as well as the type of music played using the Mbira instrument.
The Mbira instrument consists of flat nails fixed on a wooden board projecting outwards as shown in the image below:
History of Mbira
To make this article flow nicely, it is best to start by introducing the Mbira instrument. This instrument originated in Zimbabwe and was created by the people living in the northern parts of the country around the 10th century.
It was initially used for entertainment purposes by cattle herders as they watched over their livestock. The first Mbira had eight keys, and the most popular songs played were Nhemamusasa and Chemutengure.
Over time, the Mbira instrument was introduced to Shona ceremonies and rituals. In Shona cultural evolution, it is referred to as a “telephone to the spirits” and is used to contact deceased ancestors and ancient tribal guardians (Mudzimu) during all-night ceremonies (Bira).
At these ceremonies, Familial spirits (Midzimu) and Guardian Spirits of the Shona (Mhondoro) would be summoned to Homwe/Svikiro (the person possessed by the spirits) to provide guidance on community and familial matters and exert power over weather and health.
To make the article make sense let’s dive into a…
Brief background of the Shona
According to source, the Shona people have their origins in Guruuswa (Tanganyika), where Tovera is considered their forefather. Tovera’s grandson, Murenga, left Guruuswa and migrated to the Zimbabwean plateau.
He named his descendants vaMbire, after his father Mambiri. Murenga’s sons, namely Chaminuka, Gumbi (Nehanda), and Mushavanhu (Venda ancestor), are referred to as Mhondoro dzeZimbabwe.
Nehanda’s spirit is believed to possess mostly women of the Soko totem (which directly translates to ‘Monkey’ but mostly describes the ‘Baboon’), with Charwe Nyakasikana, one of the heroines in the First Chimurenga War, being one of its Homwe (which directly translates to ‘Pocket’).
Other totems that played specific roles in late Shona settlements were Moyo (which translates to ‘Heart’ but mostly describes a ‘Bull’) — the Kings of royal descent, and the Shava tribe (Eland), whose males are commonly called Mhofu and females, Chihera. The Shava tribe played the role of messengers in the Shona settlements.
When the King wanted to ask for guidance from the ancestors, he would send the Shava messenger to summon a Soko medium, who could connect with the ancestors. The Gwenyambira (Professional Mbira Players) would be called to play during these ceremonies.
Uses of Mbira in Shona Culture
The Mbira instrument is used to communicate with spirits for various purposes. During droughts, it is used to ask the spirits to bring rain, and during floods, it can be used to stop excessive rain. The Gwenyambira, who is a skilled Mbira player, would play in order to bring clouds and cool down the hot climate, which can damage crops.
In addition to its spiritual uses, Mbira is also used for healing purposes. A simple tune played on the Mbira can heal both physical and mental illnesses. It is also used for personal meditation and prayers to the spirits. It is often played at celebrations, such as weddings, coronations of new Kings, and governmental events like international conferences.
At death ceremonies, the Gwenyambira is called upon, especially when a Shona Chief dies. They are required to play for a week after the Chief’s death before the community is informed of their passing.
At the ‘Kurova guva’ (Summoning the spirit of a dead person back to protect his/her family) ceremony, which takes place approximately one year after a person’s physical death, or when rain has poured on the grave and the soil has packed.
Mbira along with other musical instruments like Drums, Hosho (Gourds with seeds), and Horn Trumpets, is used to welcome the individual’s spirit to the community.
Mbira is also used by traditional healers in exorcism of unclean spirits or driving them away from homesteads and families.
Mbira Today
During Zimbabwe’s colonial period, missionaries taught that Mbira was evil due to its associations with ancestral spirits, leading to its decline in popularity along with the repression of traditional religion.
Over time, certain rhythms of Mbira music, such as the originals like Nhemamusasa and Chemutengure, have evolved into variants like Kalimba, Kilembe, Mbira dzeVadzimu, Nyunga Nyunga, Njari, Nhare Dongonda, and Vembe, among others.
It’s worth noting that a certain variant of Mbira can call upon a spirit, which can be either clean or unclean, depending on the tune and lyrics.
Some Mbira tunes are solely for entertainment purposes, while others are for spiritual purposes. For instance, Chamutengure is for entertainment purposes, whereas Nhemamusasa is for spiritual purposes.
Apart from the tune, the lyrics being sung also contribute to the classification of Mbira as either entertainment or spiritual. Additionally, the type and hierarchy of the summoned spirit depend on the specific Mbira variant being played.
Traits of the Gwenyambira
In order to become a Gwenyambira, one must be accepted by the ancestors to play at their ceremonies.
This role is not meant for mere financial gain, but for serving the community. A Gwenyambira is expected to be humble and diligent, as they are considered a tool of the ancestral spirits.
It is not allowed for a Gwenyambira to have an ego about their playing abilities, as this would cause them to lose their musical capabilities.
It is important for a Gwenyambira to manage their emotions well, as playing tunes in a sad mood may not bear any results from the ancestors, for example when crying for rain.
Examples of Mbira songs
There are certain songs that are believed to be able to call upon ancestral spirits. One particular example is called ‘Vana vanorwara Changamire, Mudzimu Dzoka’, which translates to ‘Children are sick Sir, Spirit come back.’
This song is a way of apologizing to the ancestors, who may be angry and no longer taking care of their descendants. During this ritual, the ancestral spirit is said to enter one of the congregants and declare what they want in exchange for their help.
Another example is the song ‘Mudzimu woye Tadzungaira’ (Spirit we are lost), which is played when a society is facing difficult times such as drought or persistent poverty. The elders gather around to sing the lyrics, while a Gwenyambira plays the Mbira.
They also pour traditional beer on the ground as an offering to the thirsty ancestors and inhale Bute (Snuff) until they see changes.
Once the ancestral spirits have been summoned and their help has been received, they are thanked with an instrumental piece called ‘Rugare’ (Abundance).
Conclusion
The Mbira is a musical instrument that holds significant importance in Shona culture and religion. It serves as a medium for connecting with ancestral and tribal spirits and expressing various emotions and themes.
The Mbira music itself is not inherently evil; it reflects the beliefs and intentions of the players and listeners. Therefore, it should be respected and appreciated as it is a rich and diverse musical tradition.
