PHOTOJOURNALIST Bornwell Choga says the authentic history of mbira has not been fully established due to suppression arising from religious misconception despite the mbira instrument beind widely played.
Choga fully appreciates efforts by Zimbabwean first-generation scholars such as Paul Berliner, Kwabena Nkekia, Hugh Tracey and most recently Albert Chimedza’s Mbira Institute to explore the mbira narrative.
He also acknowledged other legacies from such performers as Mudavanhu Magaya, the late Ambuya Stella Chiweshe, Chiwoniso Maraire, Beaulah Dyoko and Hope Masike who have helped build a new mbira music narrative.
Zimbabwe has several types of mbira instruments which include, but are not limited to nhare also known as mbira dzavadzimu, matepe, njari and nyunganyunga.
Speaking to NewsDay Life & Style, Choga revealed that he is working on two books Faulata-A Girlchild Memo and James Tsindi-Ancient Mbira Voice as well as a poetry collection My Journey of Words.
Choga’s maiden book is Kubva Muguruva, which is a biography of legendary gospel musician Baba Machanic Manyeruke.
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“My mbira research tries to investigate the origin of mbira, the spirituality of the mbira instrument, its importance to the Shona African people and the different mbira types,” Choga said.
“As I was carrying out my research, I spoke to spirit mediums who confirmed what I had been told earlier on by one mbira maker that mbira was discovered by some people who had gone to bath and as they took a bath they enjoyed the reverberation of mbira music which was coming from the waters.
“They looked around and saw a unique instrument floating on water and playing music on its own. This was in Guruuswa, Tanzania, where several Bantu tribes originated from and migrated to settle in several parts of southern Africa and thus accounting for the presence of mbira music in Malawi, Zambia, Mozambique and Zimbabwe.”
He continued: “Years later, through dreams, boys in the community started making mbira musical instruments.
"As the people migrated from Guruuswa, mbira was used to call ancestors to dispense solutions, advice, and guide and give directions to the living. Mbira is the conduit between the living and their ancestors and today it is a common instrument at night vigil parties better known as biras in Shona.”
Choga noted that several districts in Zimbabwe have their own mythical stories on mbira music which are all important in the preservation of the Zimbabwean Cultural heritage.
He said his effort was meant to raise awareness that several ethnic groups have their own narrative about the origins of mbira and the spiritualism attached to it must not be related to music making because the mbira musical instrument is scientifically made.
Choga, who at one time converted to christianity and withdrew to pursue journalism, believes all ethnic and individual efforts can result in patents for perfect industrial export quality mbira and resultantly a refined teaching method.
“Any music instrument is traditional in one way or another and the more people are taught about the instrument the more it becomes enjoyable and appreciated by communities without any religious or ethnic attachment to it,” he noted.
Choga stressed that heritage or cultural teaching is important, but the methodology and perceptions remain different.
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