Music as an Instrument for Change

Today we had the wonderful opportunity to sit down with both Peter Mwangwa and his record label, Rhythm of Life. Mwangwa, one of Malawi’s most prominent fusion artists, has made a name for himself in the last decade by combining indigenous Malawian rhythms with international standard recordings to produce uniquely Malawian sounds. Surprisingly, he has found the majority of his audience not within Malawi, but overseas. This highlights a common phenomenon in Malawi, where frequently, many prominent Malawian musicians find success first internationally before becoming recognized in their own home.

Most recently, Mwangwa has turned his attention toward philanthropy and social activism, founding Talents of the Malawian Child (TMC), a program designed to empower the forgotten children of Malawi orphaned by HIV. He works with these young people to teach, form and develop music groups. He records and produces their work, markets their albums and organizes performances for them. The proceeds of the albums go to pay the orphans’ school fees and purchase their clothing.

Rhythm of Life Records

Rhythm of Life, a UK based NGO, strives to use music as an instrument of change to empower youth. In Malawi, they support a range of programs, including young artist development, professional recording services and support for Mwangwa’s TMC. They gave a number of insights into the challenges facing aspiring young musicians, from inadequate financial resources to production, promotion and distribution obstacles.

Over the next two days, we’ll be filming some of the best young talent southern Africa has to offer at the Music Crossroads International festival. Stick around to hear more…

“It’s over, over…”

We titled this blog after our favorite song that we hear almost nine times a night. But seriously, it actually is over, and we couldn’t be happier with our experience. On Friday, we presented in front of the director of NTA (the Namibian Training Authority), which COSDEF is under. We had prepared a written executive summary for all of the Support Unit members as well as a powerpoint presentation. We also provided examples of the marketing materials we had made–a general COSDEF brochure and handouts for each course offered. The purpose of our presentation was for the Support Unit to know where to allocate funds they recently received. We were a little nervous because it was our first business presentation. However, we felt like it went really well. At the end of the presentation, they individually thanked us for our efforts and honest recommendations.

Overall, we learned a lot about development. We have formed our own opinions about how the government should be involved and how efforts should be cohesive. Because this internship was so specific, we both have a better idea of where we fit into development work. In addition, we have experienced how race relations are in another country and how they differ from the U.S.

Even though we have only been here for two months, we feel that our experience has been very complete because there have been many phases to time here. We have experienced being tourists, working, volunteering, and living in a developing country. Maia is on her way home, and Eli is off on another journey to Zambia for two weeks. We are both looking forward to coming home, but we know this is not our last time in Africa.

Back in Tsumeb

After running around the country we’re finally settled back in Tsumeb! It’s amazing to look back on the past two months and think about all the traveling we’ve done and all the things we’ve seen. It’s really nice to be back in quiet Tsumeb, to finish up our project and actually get a feel for the town.

We finished our final audit last week in Otjiwarongo. Being the last center we visited, we knew exactly what we were looking for. We could evaluate what works best and critically examine the center’s organization. We have been treated with great hospitality everywhere we have stayed and have been recieved warmly by all the people we have worked with.

We are preparing for our final presentation which will be in Windhoek this coming Friday. We’ve made marketing materials in the form of brochures and success stories. We also have compiled all our findings from each audit into an executive summary, which will be given to the foundation. It will be exciting to present our ideas and recommendations.

We’ll give you a final update after our presentation. Until then, send us good vibes! ciao!

The Wheels Got Tired

Saturday morning, we caught up with the Makambale Brothers, one of Lilongwe’s most talented groups of traditional musicians. Their unique sound, born from oil-can guitars and bottle-cap cymbals, screams Malawian. We recorded three songs with them, hoping to produce a music video from our short session with them. Afterwards, we were so impressed with their sound that we invited them to open up for the Sangalala Band at Saturday night’s show at Chameleon’s. The show was yet another promotional gig for Deep Roots, and Kenny once again dazzled the audience with his high-tempo stage presence.

Makambale Brothers, Lilongwe

Yesterday (Sunday) morning, we packed up the Land Rover to drive back to Blantyre, only to make it 10km outside Lilongwe before running into clutch problems. So, it looks as though we’re stuck in the capital city for the week, which isn’t such a bad proposition, as we have plenty of interviews here to keep us occupied. Additionally, Lilongwe is hosting an international music competition this weekend, Music Crossroads. So for our purposes, we’re stuck in Lilongwe during the best week of the year possible.

Today we met with Peter Malata, a well-known Malawian fusion artist. He launched his career as a reggae musician in the mid-1990s, but has since pioneered the effort to blend traditional Malawian beats with contemporary sounds. He, along with his brother Jerry (among others), recently started the Mabingu Band, an experiment delving into the cultural roots of the music associated with Gule Wamkulu

Jerry, who has been initiated into the Gule tradition in the past two years, has been given permission by the society to popularize some of the inner-elements of their music. He and Mabingu Band thus represent the first effort to incorporate the tradition’s music into the Malawian mainstream. We listened to some of the music they’re currently in the studio recording, and the results are sounds that I’ve never been exposed to before—gems waiting to be uncovered.

Jerry (left) & Peter (center) Malata

So, we’re back with Ken’s family tonight, where we’ll be for the remainder of the week. On tap for us in the next couple days are interviews with Peter Mwangwa, the Black Missionaries, Konga Vibes, Body, Mind & Soul, Lester Mwathunga, Harry Gibbs, Rhythm of Life Records, Music Crossroads International, and more, so stick around….

Back in the Capital City

After spending Monday-Thursday in production review in Blantyre, we resumed filming today in Lilongwe with Harry Gibbs, a key figure in Malawian entertainment and music promotion. His activities range from organizing Malawi’s annual international music festival, the Lake of Stars, to owning and operating Lilongwe’s premier venue, Umunthu Theatre.

Umunthu Theatre, Lilongwe

He was able to give us his take on Lilongwe’s music scene while showing us around his newly opened theatre. Harry opened Umunthu last year, aiming to attract both national and international artists by providing unparalleled sound and lighting quality. Judging by our tour, he’s accomplished just that. We’re fortunately going to see the Black Missionaries at Umunthu next weekend, so we’ll be able to see Malawi’s new performance standard for ourselves.

Additionally, Harry pointed us in the direction of the Makambale Brothers, the capital city’s very own traditional music quartet. So, we gave them a call and arranged a recording session for tomorrow afternoon. Also, tomorrow night, Kenny and the Sangalala Band are playing another Deep Roots promotional gig at Chameleon’s Bar, a stylish venue for musicians, poets and comedy groups in Lilongwe. Stay with us for more. Ciao.

War, Exorcism & The Legend

After a brief stopover in Lilongwe on Friday night, we spent Saturday morning in the villages of the Mzimba district in north-central Malawi. Our guide, Gertrude Mkandawire, a Member of Parliament from the area, gave us an intimate look at the cultural traditions practiced in the region. As we arrived in the village, dancers and drummers dotted the hillsides from villages in all directions, preparing for the festival that awaited us. We anxiously set up our equipment, excited to see the ingoma and vimbuza dances.

Setting up in Mzimba, Malawi

The ingoma is a warrior dance practiced across southern and eastern Africa. Originally a tradition of South Africa’s Zulu warrior tribe, the ingoma spread across the continent as rival Zulu factions fled north, fearing persecution from the ruthless Zulu king, Shaka Zulu. In Malawi, these Zulu descendants settled in the north, forming the Ngoni tribe. The Ngoni still practice the ingoma today, a proud remnant of a warrior culture. The dance itself is a show of strength, a representation of the tribe’s pride and might. As such, dancers adorn themselves with prized animal skins and carry weapons and shields while performing. The entire scene was awe-inspiring, a ritual with historical depth that’s difficult to fully appreciate.

Ngoni women dancing the Ingoma

Equally impressive was the power of the mystical vimbuza, a traditional healing dance used to exorcise evil spirits from those afflicted by psychological ailments. Drummers and singers surround the possessed individual, arousing internal spirits until they take control of the victim’s body and dance their way out of their host. The rhythm’s spiritual underpinnings are said to be indiscriminate, arousing spirits within innocent bystanders and bringing them into the fray. Fortunately, none of us were possessed and stuck to our jobs behind the cameras, grabbing some incredible footage in the process. It was an exhausting dance to watch and was surely all-consuming for its performers. After the dance concluded, we packed the Land Rover and headed two hours north to visit the great Wambali Mkandawire in Mzuzu.

A 2007 recipient of the LUSO Lifetime Achievement Award as an international ambassador of Malawian culture, Wambali’s music career spans four decades of tremendous accolades. Born in the Congo to Malawian parents, he was introduced to Afro-jazz brought back from South Africa by his uncle. He then decided to move full time to South Africa, successfully launching a career as an international Afro-jazz artist. He’s produced albums on world-renown record labels, including Sony/BMG, and toured Europe and North America extensively throughout his career, spending extended time performing across Canada.

A sample from the legendary Wambali Mkandawire

Wambali charismatically shared his own personal story and his ideas on the role of music in Malawian culture and shifting trends within music production across the continent. He also spoke fondly of memories singing against apartheid across South Africa, using music to bridge cultural divides and speak out against the government’s harsh tactics and policies. After two hours lost in conversation, we motored over to Nkhata Bay to spend another relaxing night on the lakeshore.

Sunday morning we caught up with Gasper Nali, a talented self-taught traditional musician from Nkhata Bay. Nali’s unique sound stems from the babatone, his self-made, one-stringed instrument played with a metal baton and a glass bottle used as a slide. He combines the babatone with a floor bass drum (also self-made) and a crisp, clear voice to produce a rich Kwaito/Gospel blend. His sound is like nothing I’ve ever heard, distinctly Malawian, and a perfect example of the traditional elements that are disappearing from the music here.

Gasper Nali @ Mayoka Village in Nkhata Bay, Malawi

After recording two songs with Gasper, we made the nine hour haul from Nkhata Bay back to Blantyre, where we’ll again spend the week interviewing musicians and going back through film to review our progress so far. Keep us in your thoughts, and thanks to everyone for reading!

The Challenges Facing Malawian Music

Another week of insider-interviews from Blantyre, all of which have highlighted important trends in Malawian music. During the colonial era, traditional musical instruments, songs, rhythms, and pedagogies were chronically marginalized. Colonial governments were concerned first and foremost with their territories being financially self-supporting, so administration was kept to a minimum. Thus, economic activity was left to profiteers and education was placed in the hands of Christian missionaries.

Unsurprisingly, missionaries abandoned traditional music in favor of western gospel, and the result has had profound effects on the development of Malawian music, the vast majority of which is divorced from the country’s rich cultural heritage. Instead, copy-cat artists have come to dominate, both musicians who reproduce other African sounds, such as those found in Zambia, the DRC, or South Africa, and those who simply sing western tunes translated into Chewa lyrics. The hope for many of these musicians is that, by mimicking popular sounds, they too will reach international audiences. Rather than embracing distinctly Malawian tunes, they are attempting to compete with the sounds of western pop. But, handicapped by low quality recording equipment and unrefined production/distribution networks, they stand little chance at making a mark on the world music scene.

Locally, musical expression has been increasingly shaped by monetary ambitions. As the sixth poorest country in the world, financial considerations are certainly warranted, but the result has been a proliferation of untrained and unprofessional recordings. Low-quality recordings have inevitably pandered to a widely held public opinion that music is not a serious professional pursuit. It’s easy to see how this cycle reinforces itself and can lead to the erosion of musical integrity.

It’s not a doomsday scenario, but the challenges facing Malawian music are real. The country is full of extremely talented musicians with broad international appeal, but the current mechanisms for artist development and promotion are simply inadequate. But, with the introduction of new low-cost production technology, the invisible hand is beginning to play a role.

A 1st of its kind in Malawi

In the last two years, important players have started moving into the market to counter these trends. Tuesday we sat down with Michael Munthali of J&D Records. As a Malawian record label, they are among the first breed of companies to combine the services of a professional recording studio with artist production, promotion and distribution. Michael hopes to shift public perception of Malawian music by using J&D’s administrative role to produce Malawian music to an international standard.

Wednesday, we met with four DJs from MBC Radio (Malawi Broadcasting Corporation). While many villagers may not have televisions, most have access to radios. So, MBC’s audience is a wide cross-section of the Malawian population. The DJs on-air experience made clear the demand for local music relevant to the country’s history and the issues faced by the average Malawian. For example, one of MBC’s highest-rated broadcasts is Tidzoani Zoyimba, a weekly show devoted to live traditional Malawian music. Additionally, the DJs noted that they receive more song requests for traditional music than any other genre.

Kenny and Jimmy-J @ MBC Radio 2

This issue, the reflection of culture and history in modern music, continues to emerge in all the conversations we have. We’re talking to everyone—bartenders, waiters, gardeners, cashiers, etc. We’ve found a trail of interest that we’ll continue to follow.

This weekend the trail takes us on a tour of northern Malawi. In Mzimba, we’ll be going deep in the bush to learn about the traditions of the ingoma warrior dance and the vimbuza healing ritual. Then, we’ll be heading up Mzuzu to sit down with the legendary Wambali Mkandawire. Stay with us…..

Gig at Gecko Lounge

Saturday morning we woke up early, rounded up Kenny’s old crew, the Sangalala (Happiness) Blues Band, and drove six hours to Chembe, a small village inside Lake Malawi National Park on Cape Maclear. Jutting out along the southern coast, the cape grants views of the sun rising over Mozambique and setting over Malawi. A string of islands dots the horizon, begging adventurers to grab an oar and get acquainted with the water.

The purpose for our visit to the lake was last night’s beachside gig at Gecko Lounge. If you’re headed to Cape Maclear, it’s the place to stay and has quickly become one of Malawi’s hottest music venues. They’ve begun booking acts from Lilongwe and Blantyre, and this year, they’re hosting musicians and festival go-ers in advance of the Lake of Stars Music Festival in October.

The Big Night

Waliko opened with a set of traditional instruments, relaxing the mood for dinner and getting guests ready for the show to come. The tourist and village crowd alike began flowing in, and by the time Kenny got started into the second set, the beach was covered with indistinguishable figures dancing in the starlight. The Sangalala Band kept the crowd moving past midnight until tired feet found their way to warm beds.

A truly international crowd (click for more photos)

Simon and Paul from Gecko Lounge said it was one of the best nights at Cape Mac in recent memory. They took us under wing while we were here and went to great lengths to make us comfortable. We’re grateful for their hospitality and hope we can make it back to Gecko soon, as this weekend has been a blast for both the band and film crew.

This morning we were pleased to wake up and read “Uncle” Herbert’s feature, a thorough 1800-word expose on Deep Roots Malawi in The Nation, Malawi’s largest daily print-publication. Four pictures and two full pages were dedicated to the piece, which was well written and gives a face to the project in the national press.

We’re again back in Blantyre this week, conducting another round of interviews with musicians, DJs, and record labels before embarking for our tour of northern Malawi next week. Ciao for now.

Back in Blantyre

After filming, bush-camping, and traveling 1200km over the past five days, it felt great for us to settle back into our humble abode in Blantyre for the week. We’ve been busy promoting the film in the national press and television while making the rounds within Blantyre’s music scene.

Monday morning we met the The Nation and The Times. Kenny’s friends within the printing industry have proven invaluable, and we’re now looking at a feature story on Deep Roots set for both papers on next Tuesday—neither one wants to miss out or be shown up by the other.

Malawi's #1 news source

Additionally, this week we were fortunate enough to interview Lucius Banda, a former Malawian MP and currently one of the country’s most popular artists. Banda’s large presence and jovial smile cut a memorable figure, and his remarks proved less controversial than the man himself.

A former member of parliament, Banda was an outspoken opposition leader while in office, using both his music and political leverage to reach the public’s ears with his complaints. However, while in office, Banda was arrested and imprisoned for two months on charges unrelated to his political comments. However, the timing of his arrest fueled suspicion of the government’s motivations and heightened Banda’s reputation as a champion of the people. Additionally, Banda capitalized on his newfound public sympathy, producing the album Cell Block 51 upon his release from prison.

Interview with Lucius Banda

Our meeting with Banda was at Makye’s, a popular venue owned by Makye himself, a Cameroonian rumored to have the best music collection in all of Blantyre. With a panoramic view from a hilltop overlooking the northern part of the city, it’s easy to see why his place has gained so much popularity among musicians and fans alike. Our project here is entirely apolitical, and we don’t want to develop any controversy, so we steered our interview questions with Lucius away from the political realm and toward that of music and its role in Malawian culture. Banda’s insights demonstrated a genuine concern for the future of Malawian music. A former reggae musician, Banda has begun to consciously remove himself from the reggae genre in search of a more distinctly Malawian sound. Drawing upon traditional Malawian rhythms and beats, he is trying to pioneer a new wave of musicians to place Malawi on the World Music Map.

In the latter part of the week, we were able to sit down with both Ben Michael Mankhamba, another prominent name in Malawian music, and Kenny Clips, a well-known DJ at Joy Studios. In recent years, Mankhamba has championed the development of distinctly Malawian sounds, while Clips, currently shooting a documentary on Malawian hip-hop, has a great vantage point for watching the evolution of Malawian music. Both men were able to shed unique light onto our project and we thank them for their support.

Ben Michael demonstrates traditional rhythms

Tomorrow (Saturday), we’re returning to Cape Maclear to play a promotional gig at the beautiful Gecko Lounge, so stay tuned for more…

Inside Gule Wamkulu

Ancestral spirits play an important role in present day Chewa culture by remaining in contact with the living world, primary through the dances of those belonging to the Nyau, Malawi’s secret societies. Gule Wamkulu, meaning “the big dance,” has become another title for these secret societies of traditional Chewa religious practices, and this weekend, we were fortunate enough to enter its secret realm. This sacred, complex cultural system is little known to the outside world and consists of a series of formally organized dances to admire the remarkable abilities of the dancers, who are considered adept at their dance due to their spiritual state.

Nyau is a term associated with those who participate in the rituals of these secret societies, members of which must be formally initiated and become acquainted with the society’s customs, traditions, and secret dialect. July is the peak season for Gule, with young villagers dressed as ancestral animals, trees or wearing masks to represent ancestral spirits. Nyau are considered to be in an ‘animal state’ while dressed in such attire and are not to be approached. Therefore, if one passes a Nyau in the village, it’s customary for an individual to drop several coins at a Nyau’s feet, never handing the money directly for fear of being taken by the Nyau for ceremonial purposes.

A Nyau, or ancestral spirit

The Gule Wamkulu dance generally takes place when the village chief requests such festivities, often corresponding with special occasions such as weddings, funerals, or initiation ceremonies. While a great deal of mystery still surrounds Gule Wamkulu, each formal performance is a source of great celebration for the nearby villages. The special occasion for this weekend’s performance was “our visitors from the UK and America,” the village opening its arms to our film crew and extending a warm welcome to capturing a cornerstone of Malawian culture.

After paying our tributes to the region’s chiefs, we were escorted to a small village 20km south of Lilongwe called Nyama. As we bounced along the dirt road into Nyama, we came upon the village’s small football pitch, scattered with women singing traditional hymns, men tightening their drumheads over a fire and children playing festively in the mid-day sun.

After unloading our gear and setting-up, the chief stood to make a few brief remarks to inform the villagers about our project, welcome us to the region and formally initiate the performance. Then, typical of the paradox of modern technology, just at the time when the chief opened his mouth to begin his remarks……..his cell phone rang! Quite a memorable moment, one that we thankfully caught on film.

Village headmen in Nyama

Then, the drumming and singing began, continuing with extraordinary energy and without interruption for over two hours. During this time, ten separate corresponding rhythms and dances were performed, ranging from simulated fights to giving praise for the annual harvest to shows of respect for mythical animals. Some performances had only one Nyau, while others had up to three. Two acts were especially memorable for us—the lion, and the snake charmer.

The performance of the lion was conducted by two vinyau who shared a costume, much like that of a Chinese Dragon. They entered the ceremonial circle from a small, wooded area on the blind side of the pitch, and as soon as the lion became visible, villagers quickly cleared out of its path, partly in respect for the performance, but also in fear of the Nyau’s representation. Dancing to the crowd’s drumbeat, the pair occasionally stopped to give menacing glances, often followed by brief charges to taunt the crowd and send onlookers fleeing for a safer vantage point.

Then, during the fifth performance, I decided to step inside the dance circle to get some close-up footage of the snake-charming Nyau. Little did I know, by stepping inside that ring, I became a stage-prop for this Nyau’s performance. Within seconds, the dancer had placed his 5ft snake around my neck (I’m terrified of snakes, we still haven’t determined the snake’s species, and I don’t want to know), and for what seemed like an eternity, it crawled across my shoulders while I held the camcorder tightly and listened to the crowd roar. Finally, and without incident, the Nyau relieved me of my duty and I quickly blended back into the crowd, flattered to have been honored, but grateful to be alive.

The Snake Charmer

After the ceremony, we thanked the performers, organizers and villagers for having us before handing out several crates of cold drinks and heading back to Lilongwe. After witnessing such an event, we can’t help but agree with Waliko about how resilient Gule Wamkulu seems to be as a form of cultural expression. While many traditional forms of song and dance across the globe are eroding, Gule has managed to incorporate modern elements into its form, including masked representations for politicians, public policy issues, HIV, globalization and modern technology to name a few (It’s now estimated that there exists more than a thousand different Gule mask types.) This wide range of symbolism ensures a dynamic, relevant connection between the characters and the audience. Already, Waliko and I are making plans to film a second documentary entirely on Gule Wamkulu within the next twelve months.

Back in Lilongwe, we headed over to Faith Studios to record Charles Kanthama, a legendary nsasi player and personal musician to the Achewa King. The nsasi (also known as an mbira in Zimbabwe or kalimba in Zambia) is a traditional Malawian take on a tuned idiophone (lamelaphone), placed inside of a calabash for resonation and played with the thumb, index and middle fingers. A nsasi can have anywhere from 8-45 keys arranged across two separate rows on the calabash’s interior. It’s sound is distinctly African, almost like a metallic version of the xylophone.

Charles Mkanthama, personal musician to the Achewa King

We recorded several of Charles’ tracks before losing the afternoon sun and deciding to call it quits for the day. We again slept at Ken’s cousins’ place in Lilongwe (thanks Mike and Allie) last night before hitting the road back to Blantyre this morning. We’ll be taking care of promotion and planning logistics this week from here before taking off for north early next week. Until then, zikomo kwambili!