Forming The Rayiro Orchestra pt. 3: The Inanga ReDzimbahwe

In line with my journey to creating the Rayiro Orchestra - a Pan-African ensemble of traditional and neo-traditional musical instruments - I'll be writing about the Inanga reDzimbahwe. Loosely translated, 'Inanga reDzimbahwe' ought to be read as 'Inanga in the tradition of Dzimbahwe music'. I think this name represents the East African roots of this instrument, although of course many musical roots from around the African continent are present in it. Special thanks to Deo Munyakazi's indispensable contribution to this instrument coming to life! Happy reading!

Anesu Ndoro

4/23/20242 min read

The Inanga reDzimbahwe

First of all, context!

The Inanga/Enanga/Kinanda/Nanga/Ligombo trough zither is a family of instruments that originate from East Africa in Uganda, South Sudan, Rwanda, Burundi, Tanzania and the eastern parts of the Democratic Republic of the Congo.

A similar group of instruments are the Bangwe/Pangwe zithers. The Bangwe board zithers are a family of fairly similar instruments played in southern Tanzania, central Mozambique, Malawi, and northeastern Zimbabwe, although in the latter area players have become fewer.

When I travelled to Rwanda in 2022, I was able to purchase an inanga from a musician friend who plays it professionally, Deo Munyakazi. When I say this guy is extremely talented, I'm not messing around. Check out his music on YouTube!

In the Rwandan tradition, as Deo explained, the notes of the strings are arranged on a pentatonic scale. The instrument has 10 strings of which typically only 7 or 8 are actually played: these are the first 5 notes of the scale, then the 2 or 3 notes which are an octave lower. All this to say it's organized very differently from Zimbabwe's music. The Bangwe is more akin to the mbira in that it is composed of a heptatonic (7 note) scale. The other key issue for learners is playing technique. The Inanga from Burundi is often held with the strings facing away from the musician, while the Inanga technique in Rwanda favors the instrument sitting across the lap of the player. I also found the fingering/strumming style of the instrument very complicated yet extremely fascinating.

Influences On The Inanga ReDzimbahwe

By taking the body of the east African Inanga/Enanga, the tuning system and metallic body of the southern African Bangwe, the strings of the Chinese Guzheng zither (a huge thanks to Gary Spalter for helping bring these to Zimbabwe!), the tuning pegs of the Western acoustic guitar, I've attempted to extend the repertoire of Zimbabwe's/Africa's traditional instruments. Africa's instruments and instrument makers/players (such as Deo and myself) are constantly in conversation with each other, and my fascination with this concept of cultural cross pollination has led me here, to the Inanga reDzimbahwe. Our art does not happen in a vacuum.

Instrument Sound

Loosely translated, 'Inanga reDzimbahwe' ought to be read as 'Inanga in the tradition of Dzimbahwe music'. I think this name will make finding the roots of this instrument easier, although of course many musical roots from around the African continent are present in it. Typically, inangas have a soft and quiet sound (part of the reason why I sourced Guzheng steel strings since they are a bit louder than the cotton/nylon strings typically used in contemporary times). I'm curious to see which instruments will get along with it. The new scale makes it possible to arrange mbira songs on it, and I'm currently developing a way to amplify/electrify the instrument.

I can easily see an instrument like this being taught in Zimbabwean schools or music institutions as part of the music curriculum. As far as classical African instruments are taught in Zimbabwean schools, stringed instruments are noticeably missing. My work through the Rayiro Orchestra is to bridge that gap.