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Recentering the Borderlands: Matepe As Sacred Technology from the Mutapa State to the Age of Vapostori

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Recentering the Borderlands: Matepe as Sacred Technology from the Mutapa State to the Age of Vapostori Jocelyn Mory A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2021 Reading Committee: Patricia Shehan Campbell, Chair Christina Sunardi Laurel Sercombe Jennifer Kyker Program Authorized to Offer Degree: School of Music © Copyright 2021 Jocelyn Mory University of Washington Abstract Recentering the Borderlands: Matepe as Sacred Technology from the Mutapa State to the Age of Vapostori Jocelyn Mory Chair of the Supervisory Committee: Patricia Shehan Campbell School of Music Decolonial scholars insist that the work of decolonization must, at its core, involve understanding and dismantling the Western epistemologies that shape knowledge production in the academy. Historian Mhoze Chikowero identifies a particular scarcity narrative that is rooted in colonial sound archives and permeates current scholarship on African music (2015). His research, along with works by Andrew Mark (2017), shows how this scarcity narrative depicts Zimbabwean music in a state of constant decline and in need of “rescuing” by foreign NGOs and academics, thereby perpetuating foreign control over indigenous cultural property. In this dissertation I respond to Chikowero and Mark’s critical analyses of the scarcity narrative through a case study of matepe, a marginalized music tradition from the northeastern borderlands of Zimbabwe and central Mozambique. I provide a nuanced historical account of matepe music cultures that centers localized understandings of music sustainability and cultural adaptation based on archival, ethnographic, and applied methodologies. The main framework of this dissertation is based on the Nyahuna prophecy, a locally- specific prediction of cultural decline and recovery in northeastern Zimbabwe that was delivered by Nyahuna, a prominent mhondoro (clan) spirit of the Marembe people in 1958. Through his spirit medium, Nyahuna predicted that the Marembe people would go through a period of time in which their cultural traditions would be suppressed – first by war, then by evil spirits, and finally by the growth of independent Apostolic churches, or Vapostori. Within each of these time periods I offer historical and ethnographic accounts that detail the ways in which matepe musicians have adapted their practices to changing economic, political and religious landscapes. Ultimately, within the current time period, I argue that musicians actively work towards recontextualizing matepe music to reduce the stigma of the instrument’s spiritual associations without desacralizing it. This recontextualization provides avenues for culture bearers to learn the sounds of matepe music within a predominantly Christian community. My dissertation research was a multi-year, collaborative project that included the repatriation of over 150 music recordings and 250 photographs of matepe music from the International Library of African Music (ILAM) at Rhodes University in Grahamstown, South Africa. The unpublished archival collections are from the works of Hugh and Andrew Tracey, who recorded matepe music from 1933 to the mid-1990s, during periods of significant political and social upheaval. The archival collections provide a means to address the lack of music scholarship on marginalized ethnic communities in Zimbabwe. This dissertation also builds upon existing anthropological and historical research of southeastern Africa in a way that centers the significance of traditional African music. Table of Contents Acknowledgements……………………………………………………………………………… ii List of Figures…………………………………………………………………………………… vi Dedication……………………………………………………………………………………… viii Chapter One. Archives and Music Sustainability: Decolonizing Praxis………………………… 1 Chapter Two. Marembe and the Mutapa State………………………………………………… 42 Chapter Three. Matepe as Sacred Technology…………………………………………………. 72 Chapter Four. Nyamukupukupu: Mbira and the War of Liberation……………………………103 Chapter Five. Marombo and the Aftermath of War……………………………………………143 Chapter Six. Tukowa: Vapostori Churches and Matepe Recontextualized……………………171 Chapter Seven. Reclaiming the Archives………………………………………………………210 Conclusion……………………………………………………………………………………. 243 Bibliography……………………………………………………………………………………251 Appendix A. List of hera, matepe, madhebhe, and karimba tracks that were repatriated……. 262 Appendix B. Chart with published recordings of matepe music……………………………… 268 Appendix C. List of Interviewees…………………………..………………………………… 270 Appendix D. Selected pages from Andrew Tracey’s Mbira Catalogue……………………… 272 i Acknowledgements From the very beginning this work has been a collective endeavor. I would like to express my deep gratitude to the people who have encouraged, inspired, and stuck with me along the way. Thank you to everyone who participated in this research in Zimbabwe, South Africa, the US, and elsewhere, and to the incredible musicians who illuminated this work. I am also grateful to the organizations that have funded this research. Most notably, the Fulbright-Hays Doctoral Dissertation Research Fellowship from the US Department of Education made this dream project a reality. I am also honored and grateful for the financial support I received from the University of Washington African Studies Program, the University of Washington Simpson Center for the Humanities, and the Association for Recorded Sound Collections. Thank you to the Zonke-Tsonga family and to so many others in Nyamapanda, Zimbabwe. You welcomed me into your home and community for weeks and months on end with open arms. Playing music at night while surrounded by generations of the Zonke family was the best part of this experience. I will never forget little Esther jr.’s tiny hands clapping along to the music, Sinodia’s shy dancing in the next room, and Previous’ glowing smile. The Zonke grandchildren have the best teachers in the world, their own elders, to teach them the heart and soul of this music. Ambuya Sinati, it was your request and passion for matepe that inspired this project. Sekuru Matomati and Chief Goronga, your kindness, hospitality, and friendship will never be forgotten. I will always respect the lessons that I have learned from your wisdom and leadership. Crispen Zonke, you brought so much heart to this project. Day in and day out you showed up with your talents and passion and I thank you deeply for your many contributions to this work. ii Thank you to the Nzwananai Burial Club in Nyamapanda for allowing me to be part of your group and dance with you from dusk ‘til dawn. One of my favorite memories of all time is sitting by the fire after a performance surrounded by your stories and laughter underneath the most amazing starlit sky. With you I felt a sense of belonging, especially by the side of Esther Nyandoro. Nzwananai, your skills and expertise are a profound gift to this world. Kuda Nyaruwabvu, one of the original members of Team Matepe, thank you a thousand times for helping to get this project off the ground. Your conversations and ideas shaped the direction of this work in many ways and I am always amazed by your level of commitment and determination to make things happen with humbleness and ease. James Kamwaza, your insights and your excellent hera mbira were without a doubt a key part of this research. Thank you to all of the amazing people at the International Library of African Music who endured my thousands of questions, especially Diane Thram, Lee Watkins, Elijah Madiba, and, of course, Andrew and Heather Tracey. It was truly a gift to be part of the ILAM team and to be surrounded by all of Hugh and Andrew’s original research materials every day. Andrew, your work inspired so much of this endeavor. To Midlands State University and Perminus Matiure, many thanks for taking me under your wing and welcoming me to your department. My gratitude to Father Buckland and the kind people at Arrupe Jesuit University for letting me take over your special collection’s library for days on end. Thank you to Laurel Sercombe and John Vallier as well for passing on your wisdom of the archives. When travelling far from home, I greatly appreciated all of the wonderful folks who extended their warmth and hospitality to this weary ethnomusicologist. Mandy and Christian Carver, how I cherish the culinary adventures of the Grahamstown days! Martha Thom and Jacob Mafuleni, your home is the beating heart of Dzivaresekwa and I always feel like part of the iii family when I am there. Paddy Pacey and family, thank you for your abundant generosity over the years. Zack Moon, it is not an overstatement to say this project would not exist in any form without you. You have spent so many thousands of hours on this research, listened to every idea, proofread every word, even co-presented our work at conferences from Ireland to South Africa. You drove hundreds of hours around Zimbabwe with me, dealt with every broken fuel line and engine failure with me, and helped record, conduct, sort, and catalogue all of the research materials. Oh yes, and you spent months away from your job to help me put together the matepe music collection at ILAM. The overall project was no doubt too much for one person to handle and you helped me get through it. It was actually too much work for two people to manage, but somehow we did it. It was a tremendous and difficult task and I thank you from the bottom of my heart for being there. So, let me know when you are ready to repatriate the John Kaemmer
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