Forming The Rayiro Orchestra pt. 4: The Chivandudzo Lyre
By:
Anesu Ndoro
On
08/08/2024Reading time:
3 min
Summary:
In line with creating the Rayiro Orchestra, here I'll be writing about the lyre-like instrument: the Chivandudzo, which I worked on during the holiday season of 2022. Making it was quite challenging, a bit exhausting (mistakes were made here and there) but ultimately fulfilling. Keen music lovers will see influences from the Bapedi dipela/harepa in terms of sound, the Eritrean/Ethiopian krar in terms of shape, and the nhare mbira in terms of playing technique. My intent is to make an instrument that is compatible with mbira musical structures, as well as different Zimbabwean singing styles, while adding sounds not common to traditional ensembles. Happy reading!
The first Chivandudzo lyre prototype before painting. This was truly the first successful instrument attempt I made.
The Chivandudzo Lyre
While I'm interested in the aesthetic appreciation of African arts, I strive to open discussions on how they occupy and produce sociocultural, historical, gendered, scientific, mathematical, political, and economic spaces in our day-to-day lives. In the case of Zimbabwe, which has a rich history of incredibly diverse musical traditions, I think such conversations can help us approach the problems of "preserving African culture" more critically.
The holiday season of 2022, I worked on making a lyre-like instrument: the Chivandudzo (see it here!). Making it was quite challenging, exhausting (mistakes were made here and there) but ultimately fulfilling.
Keen music lovers will see influences from other instruments on the continent. For example, the Bapedi dipela/harepa heavily influenced the sound, which itself is an instrument that came from the German autoharp. The krar of Ethiopia and Eritrea influenced the Chivandudzo in terms of shape, and the nhare mbira in terms of playing technique.
My intent is to make an instrument that is compatible with mbira musical structures, as well as different Zimbabwean singing styles, while adding sounds not common to traditional ensembles.
The Chivandudzo In Context
Now, let's imagine for a while that this instrument was to be made and distributed to Zimbabwean schools. Which schools would have access to it, and why? How would students learn, and who would teach them? How can a project like that be done such that it can sustain itself? What space would such an instrument occupy and/or produce?
I often think about these questions because I believe we need to do more to diversify the music learning that our students have. Let's consider (very broadly and at face value for now) the success story of the Nyunganyunga mbira and the Marimba. Introduced in schools in the 1960-70s, these instruments have allowed young Zimbabweans to learn music in an accessible way. The Chivandudzo could perhaps follow in these footsteps.
However, many schools still do not have access to a wider range of African musical instruments beyond the Nyunganyunga and Marimba. I hope that we one day make African musical instruments that are affordable and varied, ensuring that (especially economically-disadvantaged) young Zimbabweans also have access to quality music learning.
What do you think about this instrument? Write to the Rayiro email and let me know!
Construction in progress!
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