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Introduction |
INTRODUCTION
 Mushawaparara Mbira Group are arguably the Supreme and the Absolute Mbira Music Kings of Zimbabwe. Notwithstanding the challenges of a few cheeky pretenders and the attempted distraction of noises made by overzealous and opportunist masqueraders, Mushawaparara have firmly established themselves as the indisputable Supremos, unassailable maestro and Zimbabwe’s Ultimate Kings of the Mbira. Their highly original and complex brand of Mbira Music has proven both inimitable and unassailable, elevating them upwards into the realm of the gods. Trailblazers in every sense of the word, Mushawaparara Mbira Group are a heaven above the rest. The Mbira Music played by Mushawaparara Mbira Group is Mbira Music that one will never hear from anyone else but Mushawaparara Mbira Group, unlike other chancers who might be trying to build their careers by playing to the overkill the age old Mbira Classics that are as common to every Mbira player as the gun is to every soldier. The infinite reserves of Mushawaparara’s artistic creativity are second to none. Mushawaparara Mbira Group were the spearhead in the mass scale commercialisation of Mbira Music in modern Zimbabwe and in the transformation of the Mbira from an instrument of social and radio entertainment into a powerful industrial tool. Mushawaparara created the Mbira Music Industry of Zimbabwe. They were the first modern day Group to go not only commercial, but even industrial, with the Mbira in Zimbabwe. Everybody who has followed in their wake has done nothing more than chase the shadow of this phenomenal Group. Mushawaparara, as a Group, was formed in 1989. Back then, it was an exclusively traditional cultural music group whose main function was to be hired to perform at Traditional Rain-Making Ceremonies (Mikweerera), Working Parties (Nhimbe), Appeasing of the Ancestral Spirits (Kupira Midzimu), Appeasing the spirits of the departed (Kurova Guva) and many other types of traditional occasions. And on such occasions only the very best can make it, there is no room for mediocrity. As such, only the very best are honoured to be called upon, and Mushawaparara have been the pacesetters. It was during this time that the Group honed and perfected its staging prowess to what it is today. It was not until 1995 that Mushawaparara
Mbira Group decided to transform themselves into a Commercial Recording Group,
and since then, they have recorded and released four albums to date. And it was
their debut Album, Chamukonjora Chakoromoka, released in 1998, that triggered
the Mbira Industrial Revolution. That Album became a landmark and a turning
point, not only for Mushawaparara Mbira Group, but for the Mbira Music
fraternity as a whole. A social pastime became a vibrant, viable and lucrative
industry. Mushawaparara has been, and still remains a source of great
inspiration to many aspiring groups and even to some who have dared to challenge
them for the throne of the Mbira Music Domain, albeit that in the end they
proved themselves to lack that which made Mushawaparara the Kings of the Mbira.
The Mbira Music played by Mushawaparara
Mbira Group is totally original, inimmitable and highly distinctive from any
other kind of Mbira Music. It can only come from none other than Mushawaparara
Mbira Group. That uniqueness and perculiarity is what makes the Group stand head
and shoulders above the rest. Yet even in its distinctive perculiarity, there is
such a wide variety of different Musics available within the broader
Mushawaparara Mbira brand.
The Group does boast unparalleled
experience in playing music for any or all occasions. They have played at Rain
Making Ceremonies (Mukweerera), Harvesting Parties (Jakwara), Working Parties
(Nhimbe), Appeasing The Ancestral Spirits (Kupira Midzimu), Ceremonies for
Investigating the cause of Death Of A Kinsman (Kurova Gata), Weddings, Parties,
Corporate Occasions and even songs of prayer in Religious Praise and Worship.
They can either create the requested mood and atmosphere or they can play music
to fit the prevalent and atmosphere. It is all determined by the role the music
is designed to play.
INSTRUMENTS
 The Mbira The Mbira is the Group’s primary musical instrument and it is so basic that it is largely the same today as it was when it first emerged in Zimbabwe as long back as Before Christ. The Mbira is probably the oldest Zimbabwean Traditional Musical Instrument, perhaps second only to the drum and the human voice. Its evolution over the centuries has been primarily technical. Naturally, with the ever present process of technological advancement, the new methods used in the manufacture of the Mbira, the use of better quality raw materials and at times, the use of relatively advanced technology have all resulted in the production of a finer instrument than it ever was. Today’s sound technology is better than yesterday’s, so inevitably the Mbira instrument played today is naturally superior to the Mbira played one or two hundred years ago. Yet the essential concept to grasp here is the phenomenal precision with which the basic elements and basic principle of the Mbira have been preserved throughout the centuries. If a Mbira player from 1400AD were to be resurrected from the dead and hear, for instance, “Nhemamusasa” playing on the radio, he would tell right away that it is “Nhemamusasa” playing, even without being told. And that is where the Cultural wealth of the Mbira comes from. Its existence has never been broken, and it is in essence a spiritual time machine which brings together the past, the present and the future and magically blends them into an expression through music. It is arguably the most amazing and mysterious musical instrument made by man, and all other instruments can be traced to their parent, the Mbira. As a basic instrument, the Mbira consists of a number of flat and flared metal strips, keys of varying lengths and thickness, all arranged in a certain order and fastened to a wooden board with a rod secured behind the board with a wire or nuts and bolts. Usually, a flat piece of sheet metal zinc with metal bottle caps loosely tied onto it is nailed onto the bottom half of the wooden board to provide and amplify the percussion effect. The metal keys are usually made of malleable steel, and these keys are in fact the “Mbira”. The whole instrument is what has now come to be called the Mbira. There are many different types of Mbira, and each and every Mbira- playing geographical region or tribe or clan has its own perculiar version of the Mbira. Now, depending on geographical region of origin, a Mbira can consist of one or two or three or more tiers of keys. For example, the Nyunganyunga Mbira which is said to have originated from the Manica Province of Mozambique and spilt into Zimbabwe, consists of 15 keys all arranged in a single tier. On the other hand, the Minyonga Mbira from the Mutoko area of the Budya people consists of 53 keys arranged in three or four tiers. Besides the physical differences like the number of keys and tiers and the length of keys, Mbiras can also be differentiated by the sound they are designed to produce. There are some areas where the people play the Vembe Mbira. “Vembe” refers to the high pitch and the sharp metallic sound of the Mbira. The Vembe is native to the Mhondoro and Nyamweda area, so much that it has come to be called in full, “Vembe YeKwaNyamweda” or “Vembe YeKuMhondoro”. Translated, it simply means “the Vembe of Nyamweda” or “the Vembe of Mhondoro”. Besides these, there are also other types of Mbira, like the Matepe of Mt Darwin and Guruve areas, the Njari of Chiweshe and the Mbira Dzavadzimu (The Mbira of the Ancestral Spirits) or the Mbira Hombe (The Big Mbira) of the VaZungu people of Chivhu and Wedza areas. The Mbira Dzavadzimu can also be called a “straight tune” Mbira, and it is the instrument played by Mushawaparara Mbira Group. Mbiras can also be defined by the roles they play in the ensemble or Mbira Orchestra. There is what is known as the GwevaMbira or HwevaMbira. This is basically a Bass Mbira playing a leading part. The most dominant keys are the left thumb keys of the bottom tier. Its role is to “pull” together all the other Mbiras and to lead them. The Nheketo or Deketo Mbira is a high pitched Mbira which usually plays very fast and continuous throughout a song, providing a sharp punctuation to the deep drone of the background’s leading Hwevambira. The most dominant keys are the right hand’s index finger keys. The Deketo Mbira provides the “rap” of the Mbira Music. The Duriro Mbira oscillates between leading and backing. It is a dual role player, so it alternates sequences of the GwevaMbira and those of the Deketo Mbira. It is the Mbira that ties together the act. So to speak, it is the bridge where the Mbiras cross one another or the melting pot where all Mbiras melt into one. In most songs, the Duriro Mbira player is the busiest player. The Nyamatsatse Mbira is basically a backing Mbira. It is usually played using the same sequence used on the GwevaMbira, but perhaps with slight variations here and there. Its major difference with the GwevaMbira is that it has a remarkably higher pitch. The Dovapasi or Nhovapasi Mbira is primarily a punctuation Mbira. It combines elements of all the other Mbiras, but its sequence is usually syncopated. To sum it all up, with the Nhovapasi Mbira, now you hear it, now you don’t. Mushawaparara Mbira Group uses
semi-electrified Mbira. They are semi-electrified in the sense that, in
themselves, the Mbiras are not electrical, but they are fitted with pickers. A
picker is a small copper disc which is glued onto the surface of the wooden
block, but right under the bottom tier keys. This picker is connected to a small
socket fitted onto the underside of the wooden block, which accommodates a jack
end of a cable going to the amplifiers. That is the only connection on the
Mbira, and it does not take any input of electrical power. The role of the
picker is to “pick” the sound of the Mbira and to transmit it to the Amplifier
for amplification. This connection is a more convenient alternative to playing
with the Mbira in front of a microphone. So the Mbiras used by Mushawaparara are
basically always played unplugged.
The Calabash (Deze) The calabash, known in Shona as the
“deze”, is basically a natural amplification and sound refinement acoustic
accessory. Its role is to magnify the sound, purify it of noise and to add some
acoustic effects to the music. While a Mbira being played outside a calabash can
be heard, on a still night, seven or eight hundred metres away, a Mbira being
played inside a calabash can be heard up to a radius of 4 kilometres. Normally,
a calabash is also fitted right round the circumference of its open end with
metal caps of soft drink bottles loosely ties onto its surface to provide the
percussion effect. The original traditional African calabash is made from the
dried and empty shell of a pumpkin.
The Rattles / Shakers (Hosho) Mbira Music is incomplete without the accompaniment of the Hoshos or shakers. Mbira Music is not Mbira Music without the Hosho. In the absence of the Hosho, the Mbira is naked. Hoshos in their original and traditional form, are made from the dried and emptied hollow pods of mapudzi (some species of butternut) consisting of the empty head which is then packed with a number of specially selected pebbles, and a hooked handle for easy grasp. The Hosho and the Mbira are as synonymous as a foot and a sock, and into each other, the Hosho and the Mbira fit like a hand into a glove. The playing of the Hosho is a delicate art and it can ruin good Mbira if poorly played or it can redeem bad Mbira if well played. There are many different styles of playing the Hoshos which of course, are played in pairs. Besides being the flagship percussion instrument in the Mbira Music World, the Hosho is responsible for regulating the tempo of the Mbira. The Leg Rattles / The Calf Shakers (Magavhu) The magavhu are basically Hoshos played by the legs of the dancers. They are arguably the most intriguing instrument to watch being played because they are a translation of motion into sound. Every move of the dance choreography is translated into sound. They unify sight and sound sensations of the audiences. The Magavhu consist of a number of small
spherical calabashes with very tiny pebbles packed loosely inside them. A single
set of Magavhu can consist of as many as six or eight small calabashes tied
together with pieces of bark-string. The Magavhu are tied behind the calves of a
dancer, and as she moves her legs in dance, the Magavhu will rattle with her
every move. They provide back-up percussion to the Hosho and sometimes good
dancers wearing the Magavhus can easily outshine even the very best of Hosho
players.
Hand Clapping (Kuwombera / Manja / Makwa) Hand clapping or Kuwombera or Manja or Makwa is as important to Mbira Music and is as intergral a part of it as the Hosho. With a good clapper, the open palms can sound like two wooden blocks being struck against each other. The sound can be so sharp and piercing that it can be heard as far afield as four kilometres away on a still night. Hand clapping is an aspect of percussion.
There are also many different styles of clapping. Clapping is also important in
regulating the tempo of the vocals and the Mbira. Bad clapping can ruin good
Mbira and on the same token, good clapping can redeem bad Mbira.
The Vocals Mushawaparara Mbira Vocals are one of the finest, if not the best Mbira Vocals in the Mbira Music Industry today. Their major winning point is that of their bottomless reserves of originality, blended with the natural Vocals genius of Joseph and Andrew Maunganidze, the brothers who are the Group’s lead Vocalists. Their voices are magical and versatile, they are able to create inescapable nostalgia in anly listener, regardless of the lyrics of the song. Anyone who listens to them becomes one with them. There are basically three types of leading vocals. The first type of vocal is the ordinary song with a straight tune, basic singing. The second type is the recitation of poetry in a semi-singing, semi-talking, undulating tone. This is usually used when the song is meant to be a parody, poking fun at some social ill or vice, or when it is meant to be a humorous joke just to amuse the audience. Catchy phrases, clever anecdotes and deep vocabulary are characteristic of this type of vocal. The third type of vocal is one in which, instead of singing, there is plain story telling, where the vocalist is narrating a story. This can also be a humorous story, a sad story, but still a story to entertain listeners or a story to teach certain morals. Then there are also three basic types of backing vocals. One is that in which the backing vocalists echo or repeat a verse or verses of lyric in some sequence. In most instances, they will be answering or repeating what the leading vocalist would have said. This is simply known as “Kubvumira”, which simply means to concur. The second type of backing vocal is the one known as “mahonyera” (growling). No words or lyrics are uttered by the backing vocalists.. Instead, these are just growling and / or droning sounds made by the closed throat at a certain pitch and in a certain sequence and tune. Usually, mahororo or mahonyera are used when the lead vocalist does his own backing. In that case, he alternates the leading and the backing roles. The third type of backing vocal is known as “huro” (the neck, the throat) or “magure.” Huro is the same as mahonyera, the only difference being that the vocalist in the huro will be singing with an “open” throat. The sounds are sharper and louder. But as in mahororo, the vocalist is usually alternating by himself the leading and the backing vocals. Mbira vocals are basically freestyle, and as such it is not uncommon to see that one song could carry two, three, or more styles of vocals being blended together. Dancing Every member of Mushawaparara Mbira Group is a dancer in his or her own right. Everybody dances, but there is the dance troupe, the core of all dance choreography. The Group has four professional dancers, all of them female. Dancing is their core-function and their exclusive business. They dance for a living and they do it as if their very lives depends on it. It is an almost unanimous feeling amongst the legions of Mbira Music fans that Mushawaparara Mbira Dance Troupe is the best there is and the best there has ever been in the trade. There are three major aspects of Mbira which give the Dance an irresistible magic, and these are energy, choreographic precision and uniformity, and the musical aspect of the dance itself. Mbira Dance is characterised by the robust display of energy. Mbira Dance routines are heavy and forceful. There is a very vigorous engagement of all physical faculties, which is an indication of the infinite reserves of energy and indefatigable stamina which is embodied in the Mbira Music. The second aspect is that of the choreographic precision and uniformity. A professional Mbira Dance Troupe is judged purely on the basis of its ability to present a coherent, uniform and highly precise routine or Dance sequence. The ability to synchronise the manouvres of their limbs is the winning ticket for any professional Dance Group. Then, thirdly, there is the musical aspect
of Mbira Dance. The musical aspect of the Mbira Dance is the sound effect
produced by the stamping of the dancers’ feet onto the ground or floor to act as
substitute for the drum. In other words, it is the dancers going through their
routine who, by stamping their feet, play the role of drummers in the ensemble.
Not all dance routines, however, are choreographed in such a way that they
produce the drum effect. Where the magavhu (leg shakers / rattles) are used, the
desired effect is the percussion produced by the movement of the magavhu as they
are commanded by the legs. The focus in such a case is not on the drumming
effect.
Musical Instruments and Regalia Available Mushawaparara Mbira Group is also a supplier of various African musical instruments. Listed below are some of the musical instruments available for sale.
 Mushawaparara has recorded and released a number of Mbira Music albums. Albums realeased include Chamukonjora Chakoromoka (1998), Chidhange Chidhange (1999), Chiraira Nhaka Volume 2 (2001) and Chiraira Nhaka Volume 1. (1) Chamukonjora Chakoromoka
When translated literally, Chamukonjora Chakoromoka means “Chamukonjora has crumbled or collapsed.” Chamukonjora is the name of an imaginary big mountain. But when translated contextually, this title means that society has lost its stability, and the core-values and morals that make us a people have all been eroded, especially by the death of the elderly and wise who are supposed to be the leading figures in inculcating traditional values into the young people. In other words, society and social order has just collapsed with such a thunder that its collapse can be equated to the collapse of a big mountain. Side One Track 1 : Chamukonjora Chakoromoka
(The Great Edifice
This is a lamentation, a sad song mourning the disastrous collapse of social order, values and morals due to the incessant deaths of the elderly and wise whose prime responsibility it is to hold society together and ensure its survival by teaching the young people the secrets of life. Track 2 : Buka Rinamavara (The
Animal With The Spotted
This song talks about the animal with the spotted coat. These are so many species of animals with a spotted coat. In this song, the poet is calling on others to come and see this animal and to tell him which species it is. Track 3 : Munosara Nani? (Who Will You Remain With?) This is the song of a husband who has grown tired, frustrated and weary of a lazy, scandalous, nagging wife who also practices witchcraft to bring harm to others. He is warning her that very soon he shall be leaving her behind and he is asking her who she is going to be living with when he is gone. He warns her that in his absence, she is going to suffer so much because there will be no husband to be the breadwinner for her. Track 4 : Munosara Nani? (Who Will You Remain With?) This is the instrumental version of Track 3 Side Two Track 1 : Yera Mambo (O Holy King) This is a traditional religious song giving thanks, praise and glory to The Almighty God, the Creator of everything that exists, thanking Him for protecting us all the days of our lives. Track 2 : Hama Yangu (My Brother) This is a song from one brother to another, in which one brother is warning the other against such dangerous and immoral practices like adultery, witchcraft and looking down on others. He is advising the brother to go back and kneel down before the Father and ask to be forgiven and cleansed. Track 3 : Gore Rinouya (Next Year) This is a song of farewell where the people who have been together are now parting, and they are wishing each other well, hoping that by the will of God, they will meet again next year. Track 4 : Hama Yangu (My Brother) This is the instrumental Version of Track 2. 2. Chidhange – Chidhange (Who Gets There First?) (1999) The title of this Album is derived from a game that is played by African children, in which they try to outrace each other towards a given target, but in the process they have to leap over different obstacles and hurdles. The implication of that concept in this Album’s title is that we have to be prepared to encounter and overcome difficulties and setbacks in our endeavour to preserve our culture and traditions and to redeem our African identity from the threat of extinction triggered by Western Cultural Imperialism. Side A Track 1 : Nhorowondo . (Chronicles) This song is a chronicle of our own values, traditions and culture as a people. It laments the fast disappearance of our cultural values and advises us to go back to the core-values and morals that were taught to us by our elders who were also taught it by the forefathers. That is the only way we can preserve our cultural identity. Track 2 : Ndangariro (Reflections) In this song, the poet reflects upon the misfortunes that have ravaged Africa. The song is a reflection, not only upon the misfortunes that have befallen Africa, but it is also a confession of awe and amazement at the accuracy and precision with which the prophecies made by spirit-mediums about these events were fulfilled. Cholera, floods, Aids and the Chimurenga War were all foretold, and they all came true. Track 3 : Mativavarira (You Are Really Out To Get Us) This song is also a lamentation in which
the poet is beseeching the powers that be to intervene and rescue us from the
brutal ravages of such calamities as floods, hunger and Aids. He is talking to
Aids, floods and hunger, saying that sure as hell, you are really out to get us.
Are we going to survive?
Track 4 : Mwana Musikana (Girl-Child) This is the instrumental version of Track 1, side B. Side B Track 1 : Mwana Musikana (Girl Child) This is a song of advice to the girl-child, urging her to be careful and on-guard when it comes to choosing a partner for marriage. The girl-child must guard against the risk of being used for sexual gratification and then being abandoned in the end. She must always remember that her parents are always there to love and support her, no matter where she goes in life. As long as she leaves home in a dignified way, she is always free to come back. Track 2 : Chikwambo (The Goblin) In Traditional Shona Culture, the goblin is exclusively an accessory in the practice of witchcraft, and whoever owns or controls a goblin is to be considered the worst ever enemy, as this is used to kill other people. This song is lamenting the death of Traditional African Culture, the demise of which is being driven and exacerbated by some misguided fundamentalist element within the religious movement which claims to be Christian. Such an element is guilty of demonising any traditional practice, and any practice which does not conform to their foreign-induced dispositions. The disappearance of such practices as Mukweerera (Rain-Making Ceremony) is due to such an element, and any individual of such a disposition should be considered as dangerous as the holder of a goblin. Track 3 : Musha WaBaba (The Father’s Family) Literally translated, Musha WaBaba means “the village of the father,” but in the context of this song, it means “the family of the father”, or simply, “our family”. It is a song about the armed struggle for the liberation of Zimbabwe, looking at all the Black people of Zimbabwe as one family. It talks about the brutal carnage perpetrated by the colonial military forces on the unarmed refugees, mainly women and children, in the refugee camps of Tembwe, Chimoio, Nyadzonya, Mboroma and in Zambia. It also tells the story of freedom fighters who had to drive a herd of cattle before them to detonate landmines that had been laid for them. The song looks at the destruction of Zimbabwe by colonisation and equates it to the wiping out of a whole family. Track 4 : Ndangariro (Reflections) This is the instrumental version of Track 2 on side A 3. Chiraira Nhaka Volume 2
For one to be a self-respecting person, he or she needs to reflect on his or her own heritage and learn all they can about their custom, tradition and history. One way of achieving this is to sit down and draw lessons from traditional music. By so doing, one is not likely to lose the essence of his identity, his history and his heritage. Side A Track 1 : Mbavha NeMuroyi (The Thief And The Witch) This is the tale of a thief who went to steal mealies from the Headman’s maize field and fled after being mistaken for a corpse by a cannibal witch who had dug up a corpse from a grave and hidden it in the Headman’s field. The chase led both the thief and the witch to be apprehended. The Headman and the King agreed to mete out the stiffest penalties to the two offenders. How do you think the issue was solved when the two were found to be the Headman’s son-in-law (the thief) and the King’s own wife (the witch)? Track 2 : Makomborero (Blessings) This song encourages children to respect and love their parents and all elders since this will bring blessings upon them. It also means that great misfortune awaits those who dare to disrespect their parents and their elders. Side B Track 1 : Kutambura MuAfrica (Suffering In Africa) Africa is a continent plagued and
bedeviled by incessant civil wars, disease, poverty, social strife and
suppression. In fact, the people on the African continent suffer far more than
any other people.
Track 2 : Sango Rinorura
Talking about the city, it is often said
that “It’s A Jungle Out There.” Not only is it a jungle, but it is a wild one.
The unfortunate thing is that some people learn this the hard way. That is what
happened to the man who wrote this song when he came to the big city and got
beaten to near death for something he knew nothing about.
4. Chiraira Nhaka Volume 1
This CD is a compilation of songs from all
three Albums released by Mushawaparara Mbira Group. The synopses of the songs
contained on it have already been given in the profiles of the Albums from which
they were lifted.
From : Chamukonjora Chakoromoka (The Great Edifice Has Collapsed) (1998) 1. Year Mambo (O Holy King) 2. Chamukonjora Chakoromoka (The Great Edifice Has Collapsed) 3. Gore Rinouya (Next Year) 4. Hama Yangu (My Brother) From: Chidhange-Chidhange (Who Gets There First?) (1999) 5. Mwana Musikana (Girl-Child) 6. Musha WaBaba (The Father’s Family)
From: Chiraira Nhaka Volume 2
7. Mbavha NeMuroyi (The Thief And The Witch) 8. Sango Rinorura (It’s A Jungle Out
There)
VIDEOS The video clips for the following are available: 1. Buka Rina Mavara
The Foundation (A brief history of the group) Mushawaparara Mbira Group was founded by
Divine and Ancestral Decree. It is a Group that was in effect, founded, tutored
and built by the Spirit of The Creator and the Ancestors, through the
inspiration, revelation and instruction given to one man in his dreams. And that
man, the Founding Father of Mushawaparara Mbira Group, is Chamunorwa Masomera.
But Chamunorwa soon found out that a man can never run away from his destiny, and he learnt the hard way. For apparently no reason at all, he was fired from his job as a clerk at African Trading Company in 1959. He tried to look for another job in the city but never got any. Broke, jobless and bankrupt, he found soon enough that he could not afford to continue living in the city. He had no option but to go to live in the rural areas, the village, the bush. No sooner had he migrated to the bush than he started to have visitations in his dreams from his long dead forefather. It was this forefather who, by instruction in his dreams, taught Chamunorwa how to play the Mbira, and not only that, but also how to make the Mbira, the instrument itself. This sabbatical with the spirits lasted the man some five years. But at the end of the five years, Chamunorwa was a Mbira Maestro in playing the instrument and a craftsman par-excellence in the manufacture of the Mbira, both of which he still is to this day. Only when the spirits thought the man was ready for his Mission was Chamunorwa released from the bush. To this day, he has been a Mbira Veteran of 37 years. He has been playing the Mbira since 1964. Chamunorwa returned to the city in 1964 and immediately got a job. It was at this time that he set about teaching his own children and some close relatives the Mbira, with a view to starting a Group. By the time the Group was formed in 1989, every member of the Group had become a seasoned Mbira or Hosho player, dancer or vocalist in his own right, and blending them all together was not too hard a job. To this day, Chamunorwa has two sons who are part of the Mbira core of the Group, Oliver and Abel Masomera. Getting the Group to record their debut Album was one of Chamunorwa and the Group’s most difficult times. The Music Industry in Zimbabwe at that time looked down upon Mbira Music, and still suffering from the hangover of Colonial prejudice, refused to recognise the unlimited potential of the Mbira. On a countless number of occasions, Chamunorwa and the Group had Studio Managers slamming doors shut in their faces, and even groundsmen waving at them away with their brooms. One Studio Executive even told Chamunorwa that there were over four hundred Mbira Music Cassettes in his Studio Library, and there was nothing that he had not heard about the Mbira, and therefore Chamunorwa would have nothing new to offer him. He turned the Group down. It was by nothing other than Divine Providence that Chamunorwa and the Group somehow got a 30 minute slot for a TV Interview. To them, it was all they needed, a chance of a lifetime, to make it or break it. And when they got on TV, they played like men possessed, like they would never play the Mbira in their lives again, like their very lives depended on it. By the time the TV appearance was over, the phones were ringing off the hook with Journalists pleading for interviews and Studio Executives offering recording contracts. And that is how the Group made it, finally, five years after going Commercial. Their debut Album set the local Charts
ablaze, and thereafter, it was releasing gem after gem. Today, Mushawaparara
Mbira Group are riding on the very zenith of the Mbira Music Domain. But one
thing they will always tell you is that the road to the top was not an easy
road. It took all they had, but it paid off in the end.
Musicians in Mushawaparara Mbira Group include the following: Contact Details
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