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Folk Songs from Zimbabwe
Icho Mumhanzi!
Folk Songs from Zimbabwe
Songs, Games, Activities, and Choir Arrangements
By Billy St John
All songs are by unknown composers, kept alive through the oral traditional as practiced throughout Africa.
I acknowledge and pay respects to the traditional land owners, chiefs, and leaders in Zimbabwe as the custodians of cultural values, traditions and history as stated in Chapter 15 of the Constitution of Zimbabwe.
Newer Website - Honours Major Project
Introduction
Introduction
There is a growing need and interest in the teaching of world music in the music classroom. Benefits have been recognised in facilitating cross-cultural learning opportunities through the performance of music and dance, in addition to creating a global perspective, and an understanding and appreciation for one’s place in the world.
Music teachers should be careful not to assume that western music is superior. By denying the complexity and uniqueness of non-western music, we ignore its potential for creativity and beauty. As schools and institutions diversify, the curriculum needs to adapt to the demographics of the school and creatively accommodate all students in multicultural classrooms.
I have aimed to share my love and experiences from Zimbabwe, into a user friendly, fun and educational book to bring alive the fascinating and energetic traditional music and folklore from this great country.
The notation of African music is extremely difficult. The many complex layers of the music, such as fast polyrhythms, percussion instruments and vocal sound effects, make it difficult to capture the true sounds of the songs in notated form. I strongly advise and encourage you to listen to recordings and use the scores as a guide to producing this unique style of music.
In the style of folk music, performance of these songs are forever changing, continue to use these as a guide and allow the leaders of the songs to feel the music and let it speak freely.
Culture and Music in Zimbabwe
Culture and Music in Zimbabwe
Zimbabwean music includes folk and pop styles, with many talented musicians blending the use of traditional instruments into modern pop songs. English is the official language of Zimbabwe, but majority of the country speak Shona which is the largest ethnic group in the country. For the Zimbabwean Shona people, music is deeply linked to their culture and national identity and telling stories is deeply rooted in Shona tradition.
Many traditional songs from Zimbabwe have not been written down, and this could possibly be the first of any version written in western notation form. Customarily, songs such as these would have been passed on through the oral tradition. Oral traditions make it possible for a culture to pass on knowledge across generations without writing it down. This form of preservation has been used across Africa for many centuries and continues today.
Shona music has certain distinctive characteristics such as: the use of repetition, call and response, polyphony and complex rhythms and pentatonic scales.
Repetition is common in African music. Often the structure of a song is determined by the leader. The leader will control how many times a section is repeated before moving into another section, or sometimes song. Because of the complex nature of the polyrhythms, these drum patterns tend to repeat for the duration of the song. Music and dance are of equal importance in African music, so the repetitive nature of the drum allows for dance breaks and improvised solos. The simple call and response melodies also complement the complex and repetitive drum patterns.
Another common characteristic is polyphony, being the simultaneous combination of several distinct musical parts. The layers of hand claps, drums and shakers will often create complex polyrhythmic patterns creating a pulse that can be heard in two and three simultaneously.
Shona music has a conversational style, in which different voices, instrumental parts, or even the parts of a single player are brought into lively exchange. The most common type of music making is call and response singing, in which a chorus repeats a fixed refrain in alternation with a lead singer, who has more freedom to improvise.
The call and response technique has its roots in Africa and was taken to the New World during the slave trade. Traditionally, the call is performed by a single person or instrument, and they would be the leader of the group.
A wide variety of instruments are used in the Shona music with drums being more popular instruments. Materials such as wood, gourds, and clay are used to construct drum bodies. Drum membranes are made from the skins of reptiles, cows, goats, and other animals.
Hosho
Ngoma
Rattles
Percussion instruments include clapsticks, bells, rattles, slit gongs, struck gourds and clay pots, stamping tubes, and xylophones. Hosho a pair of hollowed out gourds/calabashes with seeds placed inside them. These gourds are grown in Zimbabwe and naturally lend themselves for this purpose as they have a large bulb at one end and a curved handle. The players control the seeds inside the gourd moving them from side to side. Hosho are similar in shape, size and sound too common Maracas. Highly skilled hosho players are always in demand in Zimbabwean traditional music ensembles. The instrument requires the endurance to play evenly and for long periods of time. There is a naturally tendency for the hosho player to drag as their arms tire. The most typical pattern is a three-pulse figure with emphasis on the main beat (Dotted quaver, semi-quaver, quaver group)
Hand-clapping is another rhythmic element to accompanying songs in the traditional style. In Shona this is called Makwa. Players use cupped hands for a louder, hollow, drum like quality. There are usually two contrasting patterns played simultaneously, but there can be more. When all the rhythms and music interlock, it demonstrates the fundamental principal of African music which has been called the “clash of rhythms”.
Children’s traditional songs and games are part of the indigenous knowledge systems, and learning through music and poetry has been part of the Shona culture since ancient times. To the Shona people these songs and games are more than mere entertainment but provide the much needed education both highlighting that these games and songs prepare children for adult roles. These songs more closely connect the learners to their own life-worlds, histories, and stories.
Pronunciation Guide
Pronunciation Guide
Shona is a phonetic language, meaning it is a language whose written form is close to its spoken form.
Vowels in Shona always make the same sounds, even when combined with other vowels. There are no silent letters or diphthongs in Shona, so vowels will always make the same sound, and it is important that you pronounce each vowel, even when one vowel follows another.
a = ah (as in father)
e = ay (as in take)
i = ee (as in feet)
o = oh (as in go)
u = oo (as in smooth)
Challenges are seen in sounding two consonants together, as in the word “nja-lo”. Pronounce consonants together like “ch” in English, but there are more in Shona.
b – implosive when used initially
d - implosive when used initially
dh – as English d
dz – combination of d and z sounds
zh – approx. as soft g in orange
n(di) = velar stop as in ng in hung (Velars are consonants articulated with the back part of the tongue against the soft palate, the back part of the roof of the mouth)
dy - as in j in job
r – rolled
Using The Songs
Using The Songs
All songs in this book have been presented in a lead sheet formation. The lead sheet provides the following information:
Leader - The main melody line, also known as the Call. The leader can be sung as a solo, by a group of singers or by the entire class/choir. The teacher could also sing the leader part when first learning the songs.
Response - This is the response to the call. This line is written below the leader and may contain harmonies for Soprano, Alto, Tenor or Bass. In some songs there is no harmony and the response sings in unison or octaves. In some songs there is no response line. If your group is not ready for harmony singing, then simply teach one part for a response.
Hand Claps, Hosho and Ngoma - These percussion lines are used as an accompaniment to some songs. They can be explored in many ways, with or without the singing. Isolate rhythms and learn them one at a time. Layer the rhythms on top of each other and spend time hearing the pulse in 2 and 3 by placing the accents in different places. Use the following as a guide to teach and explore some Zimbabwean rhythms.
Hosho are shakers and any similar shaker sounding instruments can be used in place of hosho’s. Maracas, Shekere, Egg Shakers or Latin Percussion are are good substitutes.
Ngoma means drum in Shona. Djembe’s would make for a suitable drum for all these songs.
Use the below table to practice rhythms and layer them on top of each other.
Shona Lyrics - The original written form and spelling of the Shona language is used as close to the traditional lyrics as possible. The Pronunciation Guides have been created using English spelling of the Shona language phonetics. Remember to refer to the Pronunciation guide on page 8.
English Direct Translations - The direct translations at times do not make sense in English. In some cases, an interpretation of the Shona lyrics has been provided and in others, a singable English version has been created.
Background or Instructions - As much information as possible has been provided to assist teachers understand and have knowledge of the song before teaching it. This information can be used as another teaching activity, to assist with song selection for a theme and to help performers grasp the concepts of songs.
Kodály Song Analysis Information - Some songs have been included with the song analysis information that is used in the Kodály approach.
Tone Set: Notes used in the song Scale: Scale used in the song
Form: Eg. ABCD CSP: Comfortable Starting Pitch, or suitable keys for the song
Type of Song: Folksong
Rhythmic Elements: Eg.| - crotchet, || - pair of quavers, tum-ti - dotted quaver - semi-quaver.
Melodic Elements: Eg. Steps, Skips, Leaps,
Appropriate Age Level: Eg. Middle/Secondary School
Teaching Purpose: Eg. World Music, Repertoire
This is used for Kodály teachers to quickly identify songs to use for teaching certain elements, the notes in the songs, suggested keys, etc. As I think there are some songs in this book that could be used in a Kodály classroom, I thought it would be beneficial to include these as part of the lead sheet.
Further Suggestions and Activities - The lead sheets are guides and music teachers are encouraged to use them in various ways to teach the songs or other element of music. Include repetition into the songs; you could write the structure out on the board and even create it with the class.
Eg. All sing the lead, group A sing the lead and group B sing the response, swap, percussion instrumental, call and response section to end.
Consider the following:
Change keys, add dynamics, add repeats, include instrumental gaps, play the lines on instruments, call and response on instruments, link to African music and dance, improvise dance, have dance competitions, call and response dance, create a simple accompaniment following the chords of the song, have students sing while others play instruments, allow opportunities for students to be solo leader, have class presentations for the school or other groups where the song is explained and performed, link to the learning of Africa and African countries, learn more of the Shona language.
It is important to remember that these songs are repetitive so are easy to learn. They should be taught through rote learning, inspired by the oral traditions as practiced in Africa for centuries.
Nyika Ina Vena
Nyika Ina Vena
A Traditional Shona Welcome Song
Filmed with permission from Great Zimbabwe, 2021
Isa Tauya Pano
Isa Tauya Pano
Children's Play Song with actions
(Needs a video example)
Shona Lyrics
Isu tauya pano,
Dai tauya tose,
Dai tirivazhinji,
Nhasi taionana.
Direct Translation
We are here
I wish we were all together,
May we be many,
Today we met.
Pronunciation Guide
Ee-sue-tao-yah pah-noh
Die tao-yah, toh-seh
Die tee-ree-vah-shin-jee
Nhah-see thai-o-nah-nah
Play Song Instructions
Learning the song:
Children sit in a circle with legs crossed. The teacher will sing each four-beat phrase and the class will repeat.
Leader: Isu tau-ya pa-no
Response: Isu tau-ya pa-no
When the children have learnt the song, sing it without repeating the phrase.
Easy Game: (for all games, see the rhythms below the melody line)
While sitting in the circle, students un-cross their legs and put them out in front of them with a space to pat the floor in front of them (angle legs out so your feet are slightly touching the person’s next to you). Turn slightly to your left and pat the floor either side of your leg four times using flat hands. Repeat the same again on the right hand side. The children should be able to sing the song and tap the pulse of the song.
Left-2-3-4
Right-2-3-4
Left-2-3-4
Right-2-3-4
Intermediate Game:
Using the same actions, this time, pat to the left on beat 1, right on beat 2, and on the floor in front of you three times (so all the actions are now in one 4 beat phrase)
Left, Right, and in front
Left, Right, and in front
Left, Right, and in front
Left, Right, and in front
Hard:
Adding onto the Intermediate Game, we can now add a clap in-between the beat.
Left (Clap), Right (Clap), and in front (Clap)*
Left (Clap), Right (Clap), and in front (Clap)*
Left (Clap), Right (Clap), and in front (Clap)*
Left (Clap), Right (Clap), and in front (Clap)*
* the last clap is optional
In all games, the tempo should increase, and if a student makes a mistake, they are out of the game.
Rure, Rure!
Rure, Rure!
(Needs a video example)
Shona Lyrics
Rure, rure, hai!
Rure, rure, hai!
Uyundiye “name”
Azvara mwana gaka
Ngaa gwadamire tione
GWADA!
Pronunciation Guide
Roo-reh, roo-reh, hai
Roo-reh, roo-reh, hai
Oo-you, ndee-yeah _____
Ah-zvah-rah, mwah-nah, ga-kah
Background
This game is used for learning and memorising names of children. When their name is called, children will sit or kneel. Visualising the named child sitting down is said to help the children become familiar with each other.
The game is played when the children form a circle, holding each other’s hands. They sing and swing hands in and out as the leader sings and the rest call the respond. Children can take turns being the leader. The leader must call out a person’s name (uyundiye “name”), when you hear your name, you kneel or sit (kugwadama). Other options include hopping around in a circle and saying it as a rhyme without pitch.
The phrase ‘azvara mwana gaka’ translates into ‘the woman gave birth to a cucumber’. The translation of these words does not make sense in either language, from what we know, it’s supposed to be a nonsense rhyme. One theory suggests that perhaps some subliminal learning is that life is full of absurd and unexpected occurrences. It is also said that some Shona children would not understand the words when singing it. This game has been around for so long, passed on through the oral traditional, that interpreting and trying to explain it has become challenging. It is relatable it to some of the nonsense songs and stories in English, like ‘The Old Lady Who Swallowed a Fly’, or ‘Ning Nang Nong’. Even some old English nursery rhymes came from dark parts of history!
Dudu Muduri
Dudu Muduri
I first heard this song from a YouTube channel for children learning Shona
The different notes and rhythms reflect the different versions I came across on during my research, but from what I have learnt and know, the song is sang without pitch, but the rhythm is important. Further information has been provided below.
I continued to search the internet for more on this song and the words and more explanation came from a newspaper article about imparting knowledge though childhood games.
A good video that shows some adults playing the game in America was also useful: https://vimeo.com/24011376
Shiri Yakanaka
Shiri Yakanaka
(Needs Video examples)
Kachembere KeGudo
Kachembere KeGudo
Mawere Kongoya
Mawere Kongoya
I first heard this song listening to the music of the late, great Andy Brown. I think the same as many, that I was unaware that this was originally a traditional song reinvented into an upbeat and catchy modern tune.
Two Ndebele Wildlife Songs
Two Ndebele Wildlife Songs
Ingwe and Inkonkoni were sent to me by Petros Ndlovu from the Shangano Arts Trust in Hwange.
Chemutengure
Chemutengure
No media currently
Vamudhara
Vamudhara
This marimba version helped me with some ideas and to get the character of the song:
On the right is simple version, from my friend Ndomu, is also clear and easy to hear the simple melody of the song and below it a choir singing the Dumisani Maraire choir arrangement.
Below is my choir arrangement for SATB.
Manhanga Kutapira
Manhanga Kutapira
I first came across this song in 2018 when it was included into the Combined Schools Music Concert as a piece for Choir, Orchestra and Marimba. It’s a great demonstration of how a simple traditional song can be included into a school concert on a large scale while being entertaining and exciting to watch and listen to.
The song is actually very simple and it would be great to write a full arrangement for this, similar to what we did in 2018.
Mbavarira Yavaduma
Mbavarira Yavaduma
No media currently
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