In my solo performance "Saungweme," I will showcase the musical heritage of my Zimbabwean ancestors. As a versatile multi-instrumentalist and vocalist, I stand as one of the dwindling guardians preserving the ancient musical culture and spirituality of Zimbabwe. My artistic approach views ancient musical instruments as conduits to evoke spirits and serve in ancestral worship of Zimbabwean ancient spirituality.
During the colonial era, the rich tapestry of our traditional music faced suppression. Traditional music was banned from many contexts. Ancestral and animist spirituality was silenced as instruments were burned or destroyed. Since Zimbabwe's independence in 1980, a slow resurgence of our music has taken place. However, highly spiritual instruments like the Mbira have been repurposed for modern contexts, severing ties to their original purpose.
While dedicating the majority of my work to researching, transcribing, reviving, and teaching the timeless songs and dances of Zimbabwe, controversy surrounds the best approach. Should we adhere strictly to traditional teaching methods, risking obscurity against the rising tide of popular music or facing demonisation from those influenced by the church's belief that our art is spiritually malevolent? Alternatively, should we explore new and experimental avenues to make our cultural treasures appealing to popular culture?
In my musical performance, I navigate this dissent, presenting Zimbabwean music in both traditional and experimental forms, with a particular emphasis on spirituality. Through this, I aim to spark dialogue surrounding the shadows of colonialism, the influence of commercialisation, elitism, and the diverse methods of preserving the essence of Zimbabwean music, culture, and spirituality.
Onstage, I showcase my prowess with a variety of self-made and handcrafted instruments, including the Mbira, Ngoma (drums), and Ngororombe (panpipes). These instruments take center stage individually and in combination, seamlessly shifting from technical displays to trance-inducing playing and singing.
My performance philosophy mirrors my life's journey, commencing with traditional styles rooted in my village upbringing and later embracing improvisation and experimentation. This transition mirrors life in urban settings, where our music has been absorbed into contemporary popular styles.
Throughout the concert, my intent is to demonstrate that there are traditional, popular, and experimental avenues to express our Zimbabwean music and instruments while honoring their spiritual and communal significance.

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