Afropop Worldwide's Banning Eyre went to Zimbabwe in March, 2001, to research a report on music censorship there. Within 24 hours, he ran into Ephat Mujuru, a companion on many adventures in the U.S. and Zimbabwe since they first met back in 1988. They got together to do an interview at the Zimbabwe College of Music, the same place Sean Barlow and Banning first interviewed Ephat some 13 years earlier. Ephat was spry and full of life. It was impossible to imagine that this was a man only months from his death. On the contrary, he seemed poised for a new chapter in his rich creative life. Ephat started right out playing mbira and singing.

EPHAT MUJURU: So that's a song I've recorded with my big group. It's a song that is very popular in the eastern side of Zimbabwe. They play this song when they are thrashing. It's a work song. Some work songs were also war songs. A work song is also a war song. It's called Hondo, a version of Hondo, but from the Eastern side, the Manyika side. I feel that there's so much to be done here in Zimbabwe, rather than just stick in the central part of Mashona. I think it's high time that we see all the regions of the Shona.

BANNING EYRE: We mostly know the music of the Zezuru Shona, right? From around Harare.

EM: But it's not very different from what I'm singing here. The central part and Zezuru, they can relate to that very much. There are some things that are popular in each province. We are basically the same group, but just because we live in different areas, it gets a bit of a different accent. Like people in New York speak differently from people in North Carolina.

BE: Tom Turino writes in his book [Nationalists, Cosmopolitans, and Popular Music in Zimbabwe (2000)] that Zezuru musicians were more often recorded for radio because they were closer to Harare, that this is why we know these musicians better.

EM: Ah no, there are other areas, like Mutoko. They were recorded even much earlier. Hugh Tracey did some recordings of the people from Mutoko, and also our radio station here. They also recorded some music from Masvingo. You can even go to the archive. Simon Mashoko lives in Masvingo, but he also got recognized. He plays njari. My family, we are in the Eastern side, but we are also very into mbira music.

BE: Which town was that?

EM: Wedza. So then they went to Mutare, and then they come back to Rusape. So you see, the two big mbira families. One in Wedza and one in Zimunya area. They also had the knowledge of playing mbira. When they say that the people around Salisbury were the ones who were recorded--you know, it's very surprising. People were around Salisbury. Some of them were not recorded than the people who were more in the remote areas. Like Simon Mashoko was a little bit far away. My family, we were a little bit far away, on the Eastern side.

BE: How did it get decided who got recorded?

EM: Some people were known even before the radio. Somebody will say, "Hey you know, if you go to Mutoko, there is somebody who plays mbira." So they go there. The radio were not there, but when you go to some villagers, and you ask, "Who were the people who were playing mbira?" then they could mention. People had another way of documenting. Not really documenting the documenting that is happening now. But in a very different way--documenting it in the heart, and through word of mouth. People who were good in playing, it didn't matter where they were. There are some names, some people even before the 18th century, who still have names that they were musicians. You see?

BE: But radio did make a difference, didn't it?

EM: That made a difference, but for us to be recorded, it was because of our ancestors who have been playing for quite a long time. These people they were known, even before the radio. They've kept the traditions. There are some houses who kept the traditions, even as difficult as it was. There are some other families that lost the traditions, but then they had to catch up. So in those times, the people who kept the traditions were the ones who were recorded. But those who lost the traditions, sometimes they kept themselves hiding.

BE: I understand there was a big traditional music revival in the 1970s, right? It was part of the liberation struggle.

EM: Let me tell you. It's not '70s. It was in 1962. That's the big explosion, because that's where our first African nationalism started and people wanted to know what has happened to our history. People began to have the pride of their music. That time, you could see everybody. You would go to Mbare and you would be surprised to see how many people holding mbira. I'm telling you from what I saw with my eyes. Because from the 50s, of course, it was not [happening], but from the 60s, that's when I saw this happening, that explosion which was very dynamic, very powerful. … they would play mbira here, they would play mbira there. That was the time, and we give credit to our nationalists, because they had brought the awareness to the people. They sang some of the songs, and they also began to wear African feather hats. That really brought an awareness. There was a revival.

There was a time that the government that was there was trying to ban the mbira, because it was very powerful. And then they banned some of the political songs, and then some of the police would go and say, "Please, stop playing your mbira here." But it was just in some particular places, [there were] incidents. I remember one time when we were playing at a particular place, and the police came and said, "No. No playing here." But we didn't stop! The more they said it, the more we played, because we were not afraid of anything.

But then after that, they kind of ignored it, because even in the police force, the police people they began to be interested too. They could also come for the dancing. He says, "You know, I am a policeman. But I like the music!" [LAUGHS] It was very interesting.

BE: Is it true that the church discouraged mbira playing?

EM: Yes, there were people who were looking down on us, even white people at the school where I used to go in Rusape. They were very negative. Whenever they were doing the preaching, they would always preach against anything like mbira, anything that sounded African--very much, they didn't like. It was very difficult. They would make sure that all the people who kept the traditions, their children suffered. At school, people were always insulting. "You people who are still doing that, you are old fashioned." So we had a very hard time. I am one of the people who has gone through that, because my grandfather kept the traditions. So one of the head masters was very much against me because of what was happening in my village. My grandfather decided to take us from the school. They were always talking bad about the mbira and African culture. They were very much against it.

BE: That must have been confusing.

EM: Yes, and I found that there was nothing wrong, because it's our God-given culture. How can they say things like that? Because I really felt there was nothing wrong about keeping the traditions, preserving our culture. And the only thing that they got disappointed was that in school, we were also doing very well. But they wanted to justify you saying, "Oh, you know, because you play…" But we were very good. I was very bright in school. We could cop up with even the modern technology.

BE: [Banning moves Ephat into a corner in order to get better sound.] That's your corner now!

EM: Not a slavery corner? [LAUGHS] Hey, we're suffering here. I tell you it's hard. I am paid very little money, just enough to take for one Sunday.

BE: Tell me about your new group, Ephat.

EM: I've recorded with this group called the Eden Boys. I have taught them how to play. They are playing Zimbabwe pop music which is a bit influenced from our neighbors, and ourselves too, you see, but a little bit for the young people. So I went down to them and I said, "Hey, it is high time that when you play your music…because what you are playing has got a root. It's like the Zimbabwe music that is played here comes from mbira and drums, and the music that is played in Zaire comes from likembe, which is part of mbira." You see, so I was trying to tell these young people to get them to know the right thing. So I said, "I want to teach you something, but I'm not going to be..it's not going to be easy. You're not just going to play what you want and play some of those wrong notes." So I started working with them [chord by chord] chord by chord, you know from first phrase, second, third forth, and I worked out nicely. Then we go to another guitar. We work nicely, to the bass guitar, and also the drum. Then the mbira was playing the lead. Ah it was very nice.

BE: So this is your first recording with the Eden Boys.

EM: Yes.

BE: Have you been working with them for a couple of years?

EM: No, I just started this last year.

BE: Young guys, eh?

EM: Yes, young guys. Their manager, the owner of the group, Mr. Nyaoude, said come and teach these young people how to play traditional music. Because they are good in what they play. They play what they call zongoro--millipede. They dance very fantastic. They have a nice song about the revolution. They have got a very popular song called "Makangano." "Have you forgotten about the struggle?"

They were also very pleased because they never knew they could play [tradition]. Because the traditional music they were playing was like imitating. I said, "No, let's not imitate. Let's be original." You see? Original. From the mbira. So we started working out. We made some shows…people were very happy. So we went to the recording and made a very nice album. Ah you know, the ideas, very fresh ideas we have. It's only we don't have the exposure. We are locked in the wardrobe and we are saying, "Please, let us out!" [LAUGHS]

BE: So this is going to be a comeback for you. You haven't recorded in a few years, right?

EM: Everything is changing. For me now, to come to me now and say, "We want to record you?" "Where is Mujuru?" [My song] "Mugariro" was a big hit. People in this country, they enjoy that record. And then they said, "Go and see Mujuru." They came to me, and I said, "Ah, I don't feel like recording." I was fed up. I didn't care. I was a little bit…. But then the demand from the people, and even when I am traveling, everybody, like children they sing this song "Mugariro." It's very, very popular. So for all these years, I haven't been recording. And the people said, "Come and do something."

This recording that I've made, I made it a very special way. Because I wanted to show Zimbabwe on a national level, not Zimbabwe on a village level. National level, from Beitbridge, Mutoko, Mt Darwin, Gweru, the midlands. I took songs from all those different areas, and all the different influences from the very people around Zimbabwe. I have a feeling that the people, even people in Matabeleland, they will like it. Because there is something that we do that is common.

What is happening now with the groups that are playing mbira, since they cannot play mbira, they end up playing one mode. And from one mode, they can make different songs. But all that changes is the voices. [LAUGHS]

BE: [Ephat plays a bit of an "African jazz" song on his mbira.

EM: I even wanted to put an African jazz song, like this. On my next album, I'm going to put two jazz songs. This one says, "Even if I'm poor, I'm still a human being. Please, don't treat me like I'm dead. I'm not invisible. I'm visible. So it' doesn't matter that I can be poor."

These songs that I am creating, they are also very old, not ancient, but old. Some old people when they hear it, they say, "Oh yeah, it reminds me, in the 1910." We are trying to revive. Like this song, it is called "Mangwiro." A young man promised to bring some money to his wife's place. But the time he said that, everything went up, so he could not afford to pay for his food, for everything. So by the time the day came, he had no money. Now the people came and waited. Mangwiro did not arrive. So the people are singing, "Where are you, Mangwiro?" So Mangwiro is saying, "I am here, but I only have two dollars in my pocket." [LAUGHS] He didn't know what to do. It's a song.

BE: You haven't lost your sense of humor, Ephat! So tell me, what's the new record called?

EM: The record that I made is called Musiyano, the difference. So I took this village. You find everybody is mad at each other. Like someone's cow went in someone's field, and the other person, he takes someone to court, and that person who is taking someone to court, his cow go to someone's village. So there is always something happening in the village. This is what happens in a village. So the headman who controls this thing, but then sometimes he gets very confused because there are always some complaints. He finishes one court [hearing], and someone comes and says someone's goat came and ate all my crops, and someone let their chickens into my yard. So people are mad at each other. So this is what happened. It's also the rich and the poor, they are mad at each other. When you go to a supermarket, the person who sells--you're not in agreement. "It's too expensive!" So people are mad at each other.

The headman and his people, they don't get along. And a brother and a brother are mad at each other. Father and son, mad at each other. Mother and daughter, mad at each other. And the way the people sing too, we don't sing together. We are mad at each other, because the rich ones don't want to sing with the poor ones. It's a song, because I say, "Nobody's perfect." I am the one who is singing. It's just a message I am giving, but it doesn't mean I am perfect. We also have our faults.

And the video, when I make the video, I want to make a very funny video. Everybody is going to get mad at each other. The singers too. You see? Because we also have our problems. These songs are about respect, understanding. It's a universal language, a universal thing that's being talked by everybody. I'm trying to educate the people, but I'm also saying, even myself, I need to be educated too. Me, I also have my problems. Because we are the singers, but we need to be educated too.

BE: Have you ever felt afraid to sing something because you thought you might get in trouble?

EM: Ah no, you sing what you want. We are very free people here. We make jokes, we laugh. I have never had a problem here.

BE: Some people have told me they are afraid.

EM: I don't know, because to me it has never happened. Because people come and they enjoy my music. Everybody sings. I've never had any problem. We are very free. Like now, I am saying freely. We are free people here. Ah no, I don't fear anybody. I am just a very free person. I can walk. I can do. I can go and buy my food anywhere. NO problem. I sing in public. People like my song "Mugariro." The government, they like it too. They come and dance. Nobody has ever told me to shut up my mouth. So I'm very happy, although I'm poor.

BE: [Conversation turns to Thomas Mapfumo.] He's living in Eugene, Oregon now.

EM: No, that's good. If it's right for him. But we are here. I am here. No matter how poor I can be. As long as I am able to wake up in the morning, I have to appreciate life. I have to say, "Today, I have been able to see the sun." Dawn. Come back to life. It's good. We are here. We won't go nowhere. If I go to America and visit, I come back here.

BE: You know the first time we did an interview was right here in this building.

EM: Yes, it was somewhere here. So we are marking time. So I wanted to tell you, you have to use this record on Afropop, because it is a request from the people of Zimbabwe, to do this recording.

BE: You told me you're making an mbira record too, a traditional record, right?

EM: On the mbira album, I have used different tunings. Mbira, National level. I have used Dambadsoko, very low. It's from my grandfather, but I made it much lower. Dambadsoko, but in my own version. Low and deep. And then, original gandanga, nyamaropa on the key of G, and nyuchi, the bee. The sound is like honey. Very high, as compared with dambadsoko.

But I tell you, for Afropop, if you don't use this. You can go back into some of these repeating things. I think you need fresh!

BE: Don't worry, Ephat. We'll use it. One more question. When we came here in 1992, there were lots of mbira pop bands. What happened to them all?

EM: They had a hard time to survive. They did not get very much from the media, or whatever. They would rather support who has already made it up to the top. Sometimes to be poor is like committing a crime. You can be very talented, but sometimes, if you don't get the right people to promote you, they will still treat you like an orphan.

BE: Thanks, Ephat! It's great to talk with you again.

Support the Family of Ephat Mujuru

The inimitable mbira player, story teller, and dear friend to so many in the world music community, Ephat Mujuru, died in London after suffering a hear attack in Gatwick Airport on October 5. Following considerable efforts by friends and family in Zimbabwe, Ephat has now been returned to his homeland and buried in Harare. But his sudden death--he was just 51 and in the midst of a vigorous career comeback--leaves behind a wife, Emily, and ten children. The five eldest children were born by Ephat's first wife, and the rest to Emily. They are: James (25), Cecila (26), Elizabeth (23), Slyvester (22), Chipo (15), Chaka (14), Memory (11), Mitchell (8), Okinawa (6), Caroline (3).

Ephat's oldest son James and wife Emily have created a shared fund where Ephat's friends, especially those in North America, can contribute to the well being of those he left behind. You can be sure that donations to this fund will go to the family members listed above, and nowhere else.

The monies are being gathered by Ms. Dan Jiao in Kansas City, Missouri. Her address and information about how to deposit money directly into Ms. Jiao's account are below. You can either sent a check to the address, or wire money. Note that if you wire money, please also send an email to jiaodan@hotmail.com noting how much you deposited. All funds will be converted to Zimbabwe dollars and used to feed and support the Mujuru family.

Thanks much for your gifts!

Send checks marked "Ephat Mujuru Family Fund" to:

Ephat Mujuru Family Fund
c/o Ms Dan Jiao
10911 State Line Road, Apt #4
Kansas City. MO
64114

Or email Ms. Dan Jiao and direct deposit money into her account detailed below.

Email: jiaodan@hotmail.com

When you make a gift, please also send an email indicating the amount to Bob Coen. This will help us to keep track of the fund. Bob's email address is:
video@africaonline.co.zw

Bank details
Bank name: UMB Bank
Account no: 9835827013
Address:
P O Box 419226
Kansas City MO64141

USA bank routing no: 101000695

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