Entertainment / Music
Zimbabwe loses a Cultural legend: Ambuya Dyoko 'Queen of Mbira Music'
28 May 2013 at 03:16hrs | Views
This past weekend on Sunday 26th May 2013 saw the passing away of Zimbabwe's most highly kept secret and prolific female "mbira" and traditional music impresarios in Zimbabwe's cultural fabric. Beauler Dyoko fondly known by Zimbabweans as Ambuya Dyoko, was a woman who was distinctly involved in making a difference amongst Zimbabweans, especially when it came to keeping Zimbabwean culture and music alive across multiple generation spans.
The social media world this past weekend came to life, following news of her death within North America. A genuine sense of loss began being expressed amongst musicians who realized how much Zimbabwean art and culture had been lost in the passing of Ambuya Dyoko. Tweets by current Zim-Conscious singers such as Hope Masike, mourning her death only added to the growing groundswell of loss to the true genius of her art.
As the unknowing younger generation begins to embrace and reacquaint itself with the fundamentals of Zimbabwean music and tradition, artists such as Ambuya Dyoko become more valuable to a society that is slowly awakening into its own. Cultural leaders such as Ambuya Dyoko hold the principle building blocks to the essence of Zimbabwean culture; they are the guardians of the social fabric, whose only wish and agenda is to pass on the knowledge before they die and move on as ancestors. New traditions and music are only birthed through the knowledge held by our older generation, that play the role of guards and gatekeepers; whilst taking care of the music and cultural alphabet interred; Ambuya Dyoko was one of those keepers.
For those not familiar with her body of work, Ambuya Dyoko broke barriers within Zimbabwe across many issues beside her obvious "mbira" talents. An African black woman who played "mbira" and refused to be sidelined by other notable male forces in the society or westerners well versed in the art, a herbalist who used her understanding of the balance between nature and humanity to spearhead social problems with actionable-solutions within Zimbabwe. Although she travelled all over the world Ambuya Dyoko refused to become dis-connected from the people she came from, she relished playing in townships and loved imparting traditional knowledge to the youth.
Widely followed in Japan, United States and Canada, Ambuya Dyoko is cited in several academic publications by highly regarded music ethnomusicologists. Respected voices in North American academia like Paul Berliner author of "The Soul of Mbira: music and traditions of the Shona people of Zimbabwe", and Hugh Tracey a foremost known Zimbabwean ethnomusicologist in North America all of which; have heavily relied on contributions from Ambuya Dyoko and other notable "mbira" greats for their academic productions on Shona culture. Ambuya Dyoko is widely known as Zimbabwe's hidden gem that never crossed over into the popular mainstream but remained a huge favorite amongst intellectuals, academics, westerners and the eclectic type. One can easily tell how Ambuya Dyoko was never an avid supporter of this dissemination of her music by the effort she made to play for free in areas where ordinary locals resided. It was not strange to find her in Chitungwiza or Mbare playing the mbira amongst the youth at a local house and clearly enjoying the experience. This was the same woman who in turn opened up for distinguished personalities and policy-makers within Canada and the United States, Ambuya nevertheless never forgot who she was, and what she represented: Tradition.
One would be surprised at the amount of doctorate's Ambuya Dyoko and her kin have helped engineer within North America due to their cultural substance and assistances' on thesis research for graduates. Regarded experts on Zimbabwean music and art within North America such as Erica Azim, highlight on their citations having been mentored or taught by Ambuya Dyoko. Cultural learning centers such as Rubatano located in Langley, Washington were named after themes endorsed by Ambuya Dyoko and Cosmos Magaya.
Being a known Herbalist, Ambuya Dyoko was acutely and organically aware of the delicate balance between nature and humanity. Although widely known for her contribution to Aids awareness within Zimbabwe through her music and leadership roles, Ambuya Dyoko was a true riddle wrapped within an enigma. What many fail to realize unless they know Zimbabwean culture is that Ambuya had no choice on leading in social justice issues. Having the talent of herbs was a "shavi" passed onto her by her descendants, it was her destiny.
Ambuya, being a known herbalist in Zimbabwean culture meant that she had been bestowed this talent/gift by the ancestors whether she liked it or not. Concern for the world and humanity is an in-built necessity for herbalists because their duty is to protect the fabric of life that exists within nature and maintain that equilibrium. Some of the subtleties of Ambuya's actions and words have been lost in the translation as westerners in academia tried to decipher the rich substantive depth of Zimbabwean culture from a rational-dialectical way of thinking. Go to the rural Zimbabwe villages and one soon understands that the hidden nuances and meanings cannot be explained in English or in Dialectical thought. Ambuya Dyoko was a member of a quickly diminishing group of spiritual leaders that are slowly declining in numbers while our nation fumbles to reclaim its voice on the international arena.
For those not familiar with Ambuya Dyoko's music catalogue I suggest you take the time to understand it and appreciate its idiosyncratic play on words and the mysticism that she uses with her "mbira" themes. Ambuya Dyoko just like many of the other great mbira players and has never took credit for her music knowing full well that these songs were spiritual and considered direct messages from the ancestors; comprehension of what they meant was left up to the listener as is common within Shona culture. For those of you who listen to a mbira song and pay attention to what the musician explains and defines; shame on you.
Think for yourself and ask your elders what you don't understand "mbira" music has and was always meant to be communally owned just like Wikipedia, the community defines the definition of the words; the elders only act as referees. Ambuya knew that mbira music had no ownership just like "nhemamusasa" it was for the people.
As news of her death is being received within Canada, efforts are being made to find a way to celebrate her passing and her contribution to culture, an acknowledgement of her life's work is expected to be made in Toronto at the upcoming Muhtadi International Drum festival in June within Toronto, by some local Zimbabwean and African artists.
The general consensus is the overwhelming sadness that is being felt by veteran artists as they see an upcoming generation of talented Zimbabwean artists both diaspora and native, asking more in-depth substantive questions about their cultural heritage and music and failing to find answers amongst people within the community. Huge losses to a community such as the passing of Ambuya Dyoko, who was part of a generation that clung to traditional music even though it was outlawed and considered satanic and evil by missionaries, cannot be glossed over as inconsequential historical fact. During the 1930's, mbira music nearly became a dead art due to the effective system of colonization and imperialism that was instituted by the Western world.
Again for those not familiar with Ambuya Dyoko's work, please take your time to understand it. Listen to the lyrics and continuously ask around for clarification behind the words from your elders. The depth and substance gets better and easier to understand with time somewhat like a fine wine, there is a reason why intellectuals and academia listen to her, reader be warned this music is deep and introspective. Rest in Peace Ambuya Dyoko. Your legacy will live on, both culturally and intellectually.
Tsungai Chipato is a blogger and free-lance journalist in Toronto
Contact him @: mugaradzakasungwa@gmail.com
The social media world this past weekend came to life, following news of her death within North America. A genuine sense of loss began being expressed amongst musicians who realized how much Zimbabwean art and culture had been lost in the passing of Ambuya Dyoko. Tweets by current Zim-Conscious singers such as Hope Masike, mourning her death only added to the growing groundswell of loss to the true genius of her art.
As the unknowing younger generation begins to embrace and reacquaint itself with the fundamentals of Zimbabwean music and tradition, artists such as Ambuya Dyoko become more valuable to a society that is slowly awakening into its own. Cultural leaders such as Ambuya Dyoko hold the principle building blocks to the essence of Zimbabwean culture; they are the guardians of the social fabric, whose only wish and agenda is to pass on the knowledge before they die and move on as ancestors. New traditions and music are only birthed through the knowledge held by our older generation, that play the role of guards and gatekeepers; whilst taking care of the music and cultural alphabet interred; Ambuya Dyoko was one of those keepers.
For those not familiar with her body of work, Ambuya Dyoko broke barriers within Zimbabwe across many issues beside her obvious "mbira" talents. An African black woman who played "mbira" and refused to be sidelined by other notable male forces in the society or westerners well versed in the art, a herbalist who used her understanding of the balance between nature and humanity to spearhead social problems with actionable-solutions within Zimbabwe. Although she travelled all over the world Ambuya Dyoko refused to become dis-connected from the people she came from, she relished playing in townships and loved imparting traditional knowledge to the youth.
Widely followed in Japan, United States and Canada, Ambuya Dyoko is cited in several academic publications by highly regarded music ethnomusicologists. Respected voices in North American academia like Paul Berliner author of "The Soul of Mbira: music and traditions of the Shona people of Zimbabwe", and Hugh Tracey a foremost known Zimbabwean ethnomusicologist in North America all of which; have heavily relied on contributions from Ambuya Dyoko and other notable "mbira" greats for their academic productions on Shona culture. Ambuya Dyoko is widely known as Zimbabwe's hidden gem that never crossed over into the popular mainstream but remained a huge favorite amongst intellectuals, academics, westerners and the eclectic type. One can easily tell how Ambuya Dyoko was never an avid supporter of this dissemination of her music by the effort she made to play for free in areas where ordinary locals resided. It was not strange to find her in Chitungwiza or Mbare playing the mbira amongst the youth at a local house and clearly enjoying the experience. This was the same woman who in turn opened up for distinguished personalities and policy-makers within Canada and the United States, Ambuya nevertheless never forgot who she was, and what she represented: Tradition.
One would be surprised at the amount of doctorate's Ambuya Dyoko and her kin have helped engineer within North America due to their cultural substance and assistances' on thesis research for graduates. Regarded experts on Zimbabwean music and art within North America such as Erica Azim, highlight on their citations having been mentored or taught by Ambuya Dyoko. Cultural learning centers such as Rubatano located in Langley, Washington were named after themes endorsed by Ambuya Dyoko and Cosmos Magaya.
Being a known Herbalist, Ambuya Dyoko was acutely and organically aware of the delicate balance between nature and humanity. Although widely known for her contribution to Aids awareness within Zimbabwe through her music and leadership roles, Ambuya Dyoko was a true riddle wrapped within an enigma. What many fail to realize unless they know Zimbabwean culture is that Ambuya had no choice on leading in social justice issues. Having the talent of herbs was a "shavi" passed onto her by her descendants, it was her destiny.
Ambuya, being a known herbalist in Zimbabwean culture meant that she had been bestowed this talent/gift by the ancestors whether she liked it or not. Concern for the world and humanity is an in-built necessity for herbalists because their duty is to protect the fabric of life that exists within nature and maintain that equilibrium. Some of the subtleties of Ambuya's actions and words have been lost in the translation as westerners in academia tried to decipher the rich substantive depth of Zimbabwean culture from a rational-dialectical way of thinking. Go to the rural Zimbabwe villages and one soon understands that the hidden nuances and meanings cannot be explained in English or in Dialectical thought. Ambuya Dyoko was a member of a quickly diminishing group of spiritual leaders that are slowly declining in numbers while our nation fumbles to reclaim its voice on the international arena.
For those not familiar with Ambuya Dyoko's music catalogue I suggest you take the time to understand it and appreciate its idiosyncratic play on words and the mysticism that she uses with her "mbira" themes. Ambuya Dyoko just like many of the other great mbira players and has never took credit for her music knowing full well that these songs were spiritual and considered direct messages from the ancestors; comprehension of what they meant was left up to the listener as is common within Shona culture. For those of you who listen to a mbira song and pay attention to what the musician explains and defines; shame on you.
Think for yourself and ask your elders what you don't understand "mbira" music has and was always meant to be communally owned just like Wikipedia, the community defines the definition of the words; the elders only act as referees. Ambuya knew that mbira music had no ownership just like "nhemamusasa" it was for the people.
As news of her death is being received within Canada, efforts are being made to find a way to celebrate her passing and her contribution to culture, an acknowledgement of her life's work is expected to be made in Toronto at the upcoming Muhtadi International Drum festival in June within Toronto, by some local Zimbabwean and African artists.
The general consensus is the overwhelming sadness that is being felt by veteran artists as they see an upcoming generation of talented Zimbabwean artists both diaspora and native, asking more in-depth substantive questions about their cultural heritage and music and failing to find answers amongst people within the community. Huge losses to a community such as the passing of Ambuya Dyoko, who was part of a generation that clung to traditional music even though it was outlawed and considered satanic and evil by missionaries, cannot be glossed over as inconsequential historical fact. During the 1930's, mbira music nearly became a dead art due to the effective system of colonization and imperialism that was instituted by the Western world.
Again for those not familiar with Ambuya Dyoko's work, please take your time to understand it. Listen to the lyrics and continuously ask around for clarification behind the words from your elders. The depth and substance gets better and easier to understand with time somewhat like a fine wine, there is a reason why intellectuals and academia listen to her, reader be warned this music is deep and introspective. Rest in Peace Ambuya Dyoko. Your legacy will live on, both culturally and intellectually.
Tsungai Chipato is a blogger and free-lance journalist in Toronto
Contact him @: mugaradzakasungwa@gmail.com
Source - Tsungai Chipato
