Mbira dzavadzimu music and performance practice has been in existence since the pre-colonial era. It played a crucial role in ritual and non-ritual activities of the Shona people of Zimbabwe. However, political, social and global influences as well as technological advancement have resulted in change of context and performance practice. Unfortunately, these have not been recorded for future generations. The major aim of the study is therefore to examine the change of context and performance practice of mbira dzavadzimu in Zimbabwe. This was achieved by reviewing mbira dzavadzimu music and performance practice within the modern setting of dandaro. I looked at change from a theoretical lens of the theory of diffusion, syncretism and mediatisation. The study was in the qualitative form superimposed on some case studies. Unstructured interviews, participant and non-participant observations were the main instruments used to collect data from both traditional and modern mbira performances. Data was also collected from museums, archives, radio and television stations. The study established that the changes in context and performance practice of mbira dzavadzimu in Zimbabwe were to a larger extent due to foreign influences such as colonialism, the coming of missionaries, modernisation, urbanisation, commercialisation, mediatisation, the use of modern technology and institutionalisation. Due to the aforementioned influences, the environmental settings, the change of context from sacred to secular, the relationship with ancestral spirits, musical practices, performance situations and quality of sound, have been modified and adjusted in response to the influences of the globalised world’s ever changing audience and performance space. In short, this has resulted in a shift of mbira performances from its traditional to modern settings, from the village to the city and onto the international scene with a new performer-audience setting. Various innovations were carried out on the instrument and its music as a result of the advent of modern technology. The use of microphones, modern amplification systems, recording studios, radio and television broadcast, audio and video cassettes, CDs, DVD, teaching of the instrument using audio and video instructional models and the use of internet sites in learning how to play mbira dzavadzimu and other instruments have become a reality. It has been evident from the study that urban and rural areas take up change in different ways and that in the former change is more pronounced than in the latter. Urban area communities are more “developed” than their rural counterparts because the former are more exposed to technological influences and the commercialisation of music. The study has also established that Zimbabwean mbira music is a good example of modern transculturality. The instrument and its music have played a major role in breaking down cultural boundaries and bringing the people of the world together for purposes of performing on the instrument. From the findings of this study, I attribute most of the changes to technologisation, for most of the changes that have taken place on mbira dzavadzimu were a result of the highly technologised way of life Zimbabweans now lead.

This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.