Mbira are a family of musical instruments, traditional to the Shona people of Zimbabwe. They consist of a wooden board with attached staggered metal tines, played by holding the instrument in the hands and plucking the tines with the thumbs, the right forefinger, and sometimes the left forefinger. Musicologists classify it as a lamellaphone, part of the plucked idiophone family of musical instruments. In Eastern and Southern Africa, there are many kinds of mbira, often accompanied by the hosho, a percussion instrument. It is often an important instrument played at religious ceremonies, weddings, and other social gatherings. The "Art of crafting and playing Mbira/Sansi, the finger-plucking traditional musical instrument in Malawi and Zimbabwe" was added to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2020.
Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern.
Given the vastness of the African continent, its music is diverse, with regions and nations having many distinct musical traditions. African music includes the genres amapiano, jùjú, fuji, afrobeat, highlife, Congolese rumba, soukous, ndombolo, makossa, kizomba, and others. African music also uses a large variety of instruments across the continent. The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music like Dixieland jazz, blues, jazz, and many Caribbean genres, such as calypso and soca. Latin American music genres such as cumbia, salsa music, son cubano, rumba, conga, bomba, samba and zouk were founded on the music of enslaved Africans, and have in turn influenced African popular music.
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. 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. 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. 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.
Thomas Tafirenyika Mapfumo is a musician nicknamed "The Lion of Zimbabwe" and "Mukanya" for his immense popularity and for the political influence he wields through his music, including his sharp criticism of the government of former Zimbabwean president Robert Mugabe. He both created and made popular Chimurenga music, and his slow-moving style and distinctive voice is instantly recognisable to Zimbabweans.
Chimurenga is a word in the Shona. The Ndebele equivalent is not as widely used since most Zimbabweans speak Shona; it is Umvukela, meaning "revolutionary struggle" or uprising. In specific historical terms, it also refers to the Ndebele and the Shona insurrections against administration of the British South Africa Company during the late 1890s, the First Chimurenga—and the war fought between African nationalist guerrillas and the predominantly-white Rhodesian government during the 1960s and the 1970s, the Rhodesian Bush War, or the Second Chimurenga/Imvukela.
Shona music is the music of the Shona people of Zimbabwe. There are several different types of traditional Shona music including mbira, singing, hosho and drumming. Very often, this music will be accompanied by dancing, and participation by the audience. In Shona music, there is little distinction between the performer and the audience, both are often actively involved in the music-making, and both are important in the religious ceremonies where Shona music is often heard.
Ephat Mujuru (1950–2001), was a Zimbabwean musician, one of the 20th century's finest players of the mbira, a traditional instrument of the Shona ethnic group of Zimbabwe.
Stella Chiweshe was a Zimbabwean musician. She was known internationally for her singing and playing of the mbira dzavadzimu, a traditional instrument of the Shona people of Zimbabwe. She was one of few female players, and learned to play from 1966 to 1969, when other women did not.
Chartwell Shorayi Dutiro was a Zimbabwean musician, who started playing mbira when he was four years old at the protected village, Kagande; about two hours drive from Harare, where his family was moved by the Salvation Army missionaries during the Chimurenga. Even though the missionaries had banned traditional music, he learned to play from his brother and other village elders. His mother also encouraged him through her singing of traditional songs.
Chris Berry is an American singer, songwriter, and musician. He plays the mbira and the ngoma drum, from the Shona people of Southern Africa. His records with the band Panjea have gone platinum in Zimbabwe and Mozambique. He has released over a dozen albums; scored the soundtrack for three films; and collaborated and performed with many other artists.
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Chiwoniso Maraire was a Zimbabwean singer, songwriter, and exponent of Zimbabwean mbira music. She was the daughter of Zimbabwean mbira master and teacher Dumisani Maraire. Describing the mbira, an instrument traditionally used by male musicians, she said, "It is like a large xylophone. It is everywhere in Africa under different names: sanza, kalimba, etc. For us in Zimbabwe it is the name for many string instruments. There are many kinds of mbiras. The one that I play is called the nyunga nyunga, which means sparkle-sparkle."
Chimurenga music is a Zimbabwean popular music genre coined and popularized by Thomas Mapfumo. Chimurenga is a Shona language word for liberation, which entered common usage during the Rhodesian Bush War. The word's modern interpretation has been extended to describe a struggle for human rights, political dignity and social justice. Mapfumo developed a style of music based on traditional Shona mbira music, but played with modern electric instrumentation, with lyrics characterized by social and political commentary.
Winky D is a Zimbabwean reggae-dancehall artist popularly known as "The Big Man". Winky D is often considered the Zimdancehall pioneer and one of the most accomplished modern Zimbabwean music artists. His music provides social commentary about Zimbabwean society.
Jonah Sithole (1952–1997) was a Zimbabwean guitarist, vocalist and composer, known particularly for the mbira-inspired style known as mbira-guitar or chimurenga music.
Corruption is an album by the Zimbabwean musician Thomas Mapfumo, released in 1989. The album criticized the government of Robert Mugabe. Mugabe's displeasure with the criticism eventually forced Mapfumo into exile, and Mapfumo's music was barred from Zimbabwean radio. The title track was discussed in the Zimbabwean parliament, around the same time as several government officials were indicted as part of a smuggling ring.
Kalfou Danjere is an album by the Haitian band Boukman Eksperyans, released in 1992. The title track, which translates to "Dangerous Crossroads", was banned in Haiti for its alleged subversive qualities. "Nwel Inosan" was also banned.
Hot Heads is an album by the Cameroonian band Les Têtes Brulées, released in 1990. The band supported the album with a North American tour.
