Zakado - Intantiko Nobuteko by Ishiwi

Preserving and Promoting Cultural Identity Pt 1

Chikuni Tonga Music Festival

By Matongo Maumbi
The moment the first home-made string vibrates through the sound system, one cannot manage suppressing a joyous smile from the face, forgetting the tens of kilometres walked to witness a show like no other. Ululations, bleating and cheers fill the air, signifying a true moment of good days in a life of someone who values culture.  




This is the Chikuni Tonga Music Festival, dubbed Nkosaadi in Tonga. Started in the year 2000, it has now become the beacon of traditional music restoration in the Southern regionof Zambia.

The more than 10,000 spectators always have a memorable time of revisiting their culture.

Bringing back to life, those past times when they would converge in similar gatherings under the bright moon and sound the drums of Nkosaadi (concert) and Nkaangakaye (children’s night games); the plays that used to bring harmony among the Tonga and watered their culture to fullness; chewing up all those vices that would otherwise have cracked society to
death.

Over the years, the concert has brought renowned Tonga drummers and string pullers
together as brothers and sisters, not adversaries. People go ‘hail’ to the jives of Kalindula (a
local classical lyric), new to the Tonga string system but incorporated in its tunes – for
culture is dynamic.

Renowned Zambian Guitarist, ‘Sir’ Jones Kabanga, a couple of years ago said even though
he had “never attended the Nkosaadi, from the pictures I say it's the only festival that we have that is well organized and the music that is played there is hundred percent Tonga!”
“Yes! We have always used music to educate and remind ourselves where we are coming
from, where we are and where we are going to! The festival to me does that!”

The Tonga Music Festival is critical as “local culture is disappearing at an alarmingly fast rate, humanity is heading towards a mono-culture - and that is a sad place to be! We need cultural diversity on this planet!” laments Michael Baird, Zambian born musician and founder of Sharp Wood Production (SWP) in the Netherlands.

Just like Chikuni Radio, Michael seeks out exponents of various indigenous styles in the
bush. With his educated musical ear, he feels “the Chikuni Tonga Music Festival is a beacon
of light that shows the rest of Zambia - and in surrounding countries - the way. This event
presents local music culture and makes the Tonga and Ila proud of their roots.”

The biggest discovery of the earlier Concerts are groups like Mashombe Blue Jeans, Green
Mamba, Short Mazabuka, Bana Haampongo and many others. These bands went on to
produce more a couple of albums, much to the delight and satisfaction of Tonga music
lovers. It marked the beginning of discovering of many other musical talents. An idea of
producing audio tape emerged with the station producing more than 70 albums promoting
local talent. This offered a source of income for both the musicians, and the radio station.
The production and sale of music lasted a few years until piracy killed the business. A source
of income depleted. Music could not sell any more as the pirates flooded the market with
much cheaper, though poor quality, copies.

However, the greatest tragedy for (Tonga) culture is the fact that there is no proper
custodian for it where all the young could look up to. As evidenced in the early years of
staging the festival, the young begun to learn and appreciate the Tonga culture. A fifteen-
year-old boy scooped first prize in the Kuyabila category, which is mainly performed by
elderly people. The boy also went further to represent the country under the Music
Crossroads Southern Africa in Malawi.

Every culture in the world has a musical tradition, and nature and environment is an intrinsic part of it. While music exists in every human society, its meaning and place is culturally determined and the function of music also differs from culture to culture. Differences in techniques, instruments, languages, forms, and, again, environment have yielded a wealth of musical styles. If a culture is to remain the driving force of any kind of society, something has to be done to safeguard against its erosion by foreign cultures or just simple 'loss of memory.'

“Having started recording music in Southern Province back in 1996,” Michael Baird strongly
feels “it is apparent that there are bad influencers for local culture.”

Tonga Traditional Music is very rich and diverse, but it is also in a state of constant transition in which much of the traditional music has been lost and new music has been introduced, which elders would consider as a sad departure from the traditional music which they knew.

Michael warns that “local music is under threat from what I call the MTV-Syndrome: once young people have seen the decadence of a gangsta-rap video, they are seduced and no
longer retain any pride in their own roots and identity. A tree without roots will soon fall
down.”

With no culturally appropriate alternatives, young people are left to form their own ideas about social norms and livelihoods from the (social) media. What these portray social norms and livelihoods is not so accurate nor helpful and only serves to fuel myths, misconceptions and attitudes that promote unrealistic expectations from (young) community members.

Journalist Charles Mafa said “this is not just a musical festival, it is a platform to share the Tonga cultural heritage through music and dance.”

Hans Christian Anderson once said “where words fail, music speaks.” The BaTonga people have found an avenue to speak through music, reliving the old days.

Charles recalls that “on a Friday, the first day of the musical festival, Tonga patriots and others begin to assemble for the two-day annual musical festival. Individuals from the Tonga
ethnic group and others gathered beneath the grey heavens to partake in the music and
dance that define them as a people. One by one, individuals and groups take to the podium
to participate in the musical concert.”

To Be Continued.....