Mbira in Shona Culture
Mbira (the name of both the instrument and the music)
is mystical music, which has been played for over a
thousand years by certain tribes of the Shona people,
a group which forms the vast majority of the population
of Zimbabwe, and extends into Mozambique.
Mbira is desired for the general qualities it imparts:
peaceful mind and strong life force.
To find out more, please click on the links below:
History
of Mbira
Mbira pervades all aspects of Shona culture,
both sacred and secular. Originally its most important
function was as a "telephone to the spirits",
used to contact both deceased ancestors and tribal guardians,
at all-night ceremonies. At these ceremonies, spirits
of family ancestors (Vadzimu), spirits of deceased chiefs
(Mhondoro), and the most powerful guardian spirits of
the Shona (Makombwe) give guidance on family and community
matters and exert power over weather and health.
Mbira was required to bring rain during drought, stop
rain during floods, and bring clouds when crops were
burned by the sun. Mbira was used to chase away harmful
spirits, and to cure illnesses with or without a traditional
healer/herbalist (N'anga). Mbira is included in celebrations
of all kinds, including weddings, installation of new
chiefs, and, more recently, government events such as
Independence Day and international conferences.
Mbira is also required at death ceremonies, and is played
for a week following a chief's death before the community
is informed of his passing. At the grave (Guva) ceremony,
approximately one year after a person's physical death,
Mbira was used to welcome that individual's spirit back
to the community.
But due to the misuse of Mbira, nowadays it is difficult
to archive the original role of Mbira which the old
generation do the Mzilikazi & Mbuya Nehanda regime
the most powerful guardian spirits of the Shona and
Matebele people.
In previous centuries, court musicians played Mbira
for Shona kings and their diviners. Although the Mbira
was originally used in a limited number of Shona areas,
today it is popular throughout Zimbabwe. The Shona Mbira
is also rapidly becoming known around the world, due
to tours by both traditional musicians and Zimbabwean
electric bands which include the instrument.
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Mbira
Singing
Traditionally, vocals are added to the Shona musical
mix by both Mbira players and listeners.
Mbira song texts vary in length from a few words to
lengthy poems. Texts may include both lyrics specific
to a certain Mbira piece and lyrics, which  may
be sung with any Mbira piece. Some texts are ancient
wisdom in "deep Shona," while others may be
contemporary personal commentary on current events.
Non-musical Shona oral literature such as proverbs (tsumo)
and praise poetry (nhetembo) may be included in Mbira
singing. Singing during the course of a Mbira piece
may be a collection of "one-liners," a cohesive
text, or both. Meaning of Mbira lyrics is often symbolic,
and listeners interpret it in a variety of ways - which
may or may not include the meaning intended by the singer.
The Mbira singer enjoys great freedom of personal expression,
both in text content and musical improvisation.
Shona traditional beliefs is that Mbira singing, and
well as Mbira playing and Mbira dancing are inspired
in the individual directly from the spirits.
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Mbira
Instrument
The Mbira of the Zezuru group of the Shona people of
Zimbabwe consists of 22 to 28 metal keys mounted on
a gwariva (hardwood soundboard) made from the mubvamaropa
tree (Pterocarpus angolensis). Although the metal keys
were originally smelted directly from rock containing
iron ore, now they may be made from sofa springs, bicycle
spokes, car seat springs, and other recycled steel materials.
The Mbira is usually placed inside a large calabash
resonator (deze) to amplify it. A stick (mutsigo) is
used to wedge the Mbira securely inside the deze. The
Mbira is played with the two thumbs stroking down and
the right forefinger stroking up.
Either metal beads strung on a wire, or bottle tops
or shells mounted on a metal plate, are placed on the
lower portion of the Mbira soundboard to add a buzz
which varies from a soft hiss to a tambourine-like sound.
Bottle tops or shells are also mounted on the deze to
increase the buzz. The buzz is considered an essential
part of the Mbira sound, required to clear the mind
of thoughts and worries so that the Mbira music can
fill the consciousness of the performers and listeners.
The buzz adds depth and context to the clear tones of
the Mbira keys, and may be heard as whispering voices,
singing, tapping, knocking, wind or rain.
We are no longer using the bottle tops, because they
produce a lot of distortions. We are now using the latest
technology - condenser microphones - mounted on the
wood to pick up the sound.
Many different Mbira tunings are used, according to
personal preference. The only requirement is that two
instruments played together should generally agree in
tuning. If the same sequence of keys is played, the
music is considered to be the same Mbira piece, even
if played on instruments tuned with completely different
intervals. For example, the outlaw (gandanga) tuning,
also known as mavembe (people with speech defects) tuning,
has a different interval relationship between keys than
the more common Nyamaropa tuning. The pitch of an Mbira
is also a matter of personal preference, ranging from
high to very deep. Each instrument has a range of three
octaves or slightly more.
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