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Theology from below: An examination ofpopular mourning songs by Shona ChristianwomenPaul H. Gundani aa Department of Christian Spirituality, Church History and Missiology , Universityof South AfricaPublished online: 10 Apr 2008.
To cite this article: Paul H. Gundani (2007) Theology from below: An examination of popular mourning songs byShona Christian women, Muziki: Journal of Music Research in Africa, 4:1, 42-51
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Theology from below: An examination of popular mourning songs by Shona Christian women
Paul H. GundaniDepartment of Christian Spirituality, Church History and Missiology, University of South Africa
Abstract
Death and bereavement have become everyday occurrences in Zimbabwe, due mainly to the escalating statistics of victims of HIV/AIDS. No sector in the country has been left unaffected by the scourge. In this situation of suffering and bereavement, Christian men and women, in-spired by their faith, provide relief, comfort and care to the sick in homes, clinics and hospitals. However, it is mostly women who give colour and life to the period of mourning. In support of the bereaved families that have lost a beloved member, they sing and dance for days and nights leading up to the funeral. In this article we examine the songs that are commonly sung at such occasions. We also interrogate the reasoning behind the choice of such songs, as well as the theology that underpins them.
IntroductionInvariably, women respond promptly to the news of bereavement in the neighbourhood. They put on their black veils and wrap a cloth (commonly known as ‘Zambia’ – a piece of cloth associated with Zambian women since the early seventies) around their torsos. They also make financial contributions to relieve the burden of the bereaved family as regards matters such as food for the mourners. The central kitchen constitutes the place of mourning in rural areas, while it is the sitting room-cum-lounge that is used for that purpose in urban areas. Cultural propriety requires that the mother or wife of the deceased and all female relatives and friends of the departed spend the mourning period in the kitchen/living room. It is to this room that the body of the deceased is taken before interment. Hence, this room forms the focal point for emotional outpour-ings by bereaved relatives and friends. Invariably, it is this space that Shona women mourners occupy throughout the mourning period.
Research interestsThis article is a result of participation in and observations made over a long period of time at funerals of family members and friends. Such occasions are not the appropriate place for one to carry pen and paper or to ask people why they sing this or that song, or
Muziki 4 (1) 2007pp. 42-51
© Unisa PressISSN (Print): 1812-5980ISSN (Online): 1753-593xDOI: 10.1080/18125980701754595
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to find out whether they are informed by this or that theology. Nor are they appropriate occasions to carry a tape-recorder to record the songs mourners sing. As an academic, however, the author was fascinated by the fact that some songs are conspicuous during mourning. It became necessary to enquire about the logic behind this phenomenon. In this article we will try to unravel the theological fascination behind the Christian songs that Shona women (and in some instances, men) sing.
The nature of songs that Shona Christian women singThe fifteen songs that we examine in this article feature prominently in the corpus that we can characterise as ‘Christian’. However, they form a corpus of choruses charac-terised by free verse and easy refrains. For ease of analysis we will categorise them according to theme, meaning and purpose, as well as relevance. In the final analysis we will consider whether they project any theological orientation.
A call to orderAs the women gather and prepare to commence their contribution to the mourning process, one of the songs they sing is ‘Taungana’.
Taungana, taunganira Baba We are gathered here, FatherTaungana, taunganira Baba gathered, gathered, for you, Father
Shoko ndirori, ndiro rimwe chete For your one and the same WordShoko ndirori, ndiro rimwe chete Indeed, it is the same Word
Ngoma ndiyoyi, ndiyo imwe chete It has the same tuneNdiyoyi, ndiyo imwe chete. The same tune
This is one of the songs that introduces people to the aim and purpose of the gather-ing. It places the mourning process and the subsequent funeral in the hands of God the Father. It also reminds mourners of the Word of God which they intend to share with the bereaved. It is the Eternal Word or, metaphorically, the same old songs that they have grown accustomed to. This song implies that all those gathered in mourning have already heard the Word and therefore should join in with the rest in singing and sharing the Scriptures.
A fickle worldA number of mourning songs are sung to demonstrate solidarity with the bereaved, who are caught up in very trying times. The singers lament the fickleness of life and the suffering associated with our temporal existence. Cognizant of human vulnerability
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in the face of suffering and death, they encourage all to turn to God, who is the answer to the woes of the world. The song ‘Toigara sei nyika?’ expresses this vulnerability and the need to fall back on God. The thorn image contained in the song expresses the discomfort of life in this world, and life without God. In this song prayer is offered as the way out of suffering.
Toigara sei nyika? How shall we live in this worldIne minzwa Full of thornsInobaya ? prickling thorns?
Refrain:Pfugama unamate Get on your knees and prayUnamate Mwari Pray to GodPfugama unamate Get on your knees and pray
Mourning the loss of one sheepIn a fast-paced dance the mourners announce the loss of the deceased whom they liken to a lost sheep. The song ‘Danga rehwai’ developed from the parable of the lost sheep (Luke 15: 3–7). This song is like the formal announcement to the Lord of the death of one of His sheep.
Danga rehwai dzenyu Mambo In the sheep’s pen, LordRimwe rarasika One of the sheep got lost
Danga rehwai, danga rehwai The sheep’s pen, the sheep’s penDanga rehwai kanhi Oh! the sheep’s pen
Refrain:Danga rehwai, danga rehwai The sheep’s pen, the sheep’s penDanga rehwai, danga rehwai Oh! the sheep’s pen, the sheep’s pen
The need for God’s presenceWithin the same category is the song ‘Tiri kuchema Ishe’, which appeals to Jesus to be present at the place and time of mourning. This is a Shona rendition of the African-American spiritual ‘Kumbaya’, and is a vivid expression of the abiding faith of the singers that the Lord always heeds the plight of His people.
Tiri kuchema Ishe We are mourning, LordPfuurai napano Please come byTiri kuchema Ishe We are mourning, Lord
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Pfuurayi nepano Please come byOh! Ishe pfuurayi nepano Oh! Lord, please come by
Tiri kudaidza Ishe We call upon you, LordPfuurai nepano Please come byTiri kudaidza Ishe We call upon you, LordPfuurayi nepano Please come byOh! Ishe, pfuurayi nepano Oh! Lord, please come by
Time for judgementThe song ‘Tarira uone’ seems to have a double meaning. On the one hand it could be interpreted as referring to the Second Coming of the Lord, that precedes the end of the world. This eschatological teaching is often understood in a personal way as referring to the death of each individual. Thus, a personalised eschatology would imply that the Lord comes to each and everyone in their individual capacity, to take them away from this world. The biblical allusion in this song may be based on Mark 13: 15–17. The second, but related meaning of the song could be that it refers to the Last Judgement. The song appeals to all present to gaze at the Lord in spirit, as He is standing by the gate ready to deliver judgement on the deceased. There is, therefore, an implied urgent call upon all present to be prepared. Hence the reference to time, which, the song says, is running out. (Ino haisi nguva yokutamba nayo.)
Tarira uone Look ... seeJesu amire pamukova (x3) The Lord, standing by the door (x3)Ino haisi nguva yokutamba nayo Do not delay
The songs mentioned above clearly give a Christian colouring and tone to the mourning process, where the Lordship of Christ is acknowledged as Him to whom the deceased is considered accountable. Apart from this group of choruses there are songs that focus on the comfort that Jesus Christ brings to the bereaved family and friends.
Jesus is the life and the source of comfortOne of the most popular songs during mourning is ‘Maria na Marita’. This chorus is based on John 11: 21, 32. This scriptural passage raises a profound existential question that borders on theodicy. It raises questions about God’s omnipresence and omniscience in the world and God’s power and will to defeat suffering and death. In this song, the biblical Lazarus becomes eponymous with the deceased. Mary and Martha also become representative of the bereaved family. The objective of the song, however, is to comfort the family that is in mourning and still confused by the death of their beloved member. Although the chorus falls short of bringing in Jesus’ teaching that He is ‘the resurrection
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and the life’ (John 11: 25–26), that could be the implied meaning and purpose. The explicit message, however, is to comfort the bereaved family. Hence the creative but unbiblical words of Jesus, saying ‘Do not weep, Mary’ (Nyarara Maria we-e).
Maria na Marita Mary and MarthaVakataura naIshe Talked to the LordDai magara pano If only you were presentRazaro haaifa (x2) Lazarus would not have died
Nyarara, nyarara Maria wo (x3) Mary, do not weep (x3)Razaro haaifa. Lazarus would not have died
The form that the song takes is intended to emphasise to the bereaved the need to accept death as part of human destiny. As the next song hints, mourning without hope smacks of a lack of faith and trust in the Lord. One of the most popular mourning songs is John 14: 1, which conveys the importance of this deep faith in the Lord.
John 14 verse 1, verse 1 (x2) John 14 verse 1, verse 1 (x2)Mwoyo yenyu kanhi Let not your heartsNgairege kumanikidzwa Be troubledTendaiwo kuna Baba Believe in the FatherMotenda nekwandiri Through meVerse 1 Verse 1
Aripo He is always there for youAripo munyaradzi Jesu (x2) Jesus, the comforter is always there for youChinyarara Therefore weep no moreNyarara kuchema ... a ... a Oh! Weep no more
One of the stanzas of the chorus aims to assure the bereaved family and the mourners at large that Jesus, the Comforter, is always available to wipe their tears, as He says: ‘Weep no more’.
To show appreciation for the support and care that the women mourners provide, the bereaved family join in with the rest in the song ‘Handimbochemi’.
Handimbochemi ( x3) I will not weep (x3)Kana Jesu aripo If Jesus is here
This song is an attempt by the family of the deceased to explain the depth of the an-guish caused by the loss of their beloved. They acknowledge the presence of Christ as a source of comfort. However, they also explain how difficult it is for them not to
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weep over their loss, as they are ordinary mortals who suffer from human foibles and are vulnerable to pain.
The need for unceasing faith in Jesus Christ is further reinforced in the chorus Nariini nariini, which appeals to the bereaved family to persevere in suffering and hold fast to their cross. Hence the phrase gomera uripo.
Nariini Eternally
Refrain:Nariini (x4) Eternally (x4)Gomera uripo Persevere
Refrain:Uripo nariini He lives eternally
The other stanzas attribute the need for steadfastness to their faith in the certainty of the Parousia (Jesu anouya nariini). The mourners further remind the bereaved family and other mourners of the need to always call upon Jesus, in times of trouble and toil for He is the righteous leader.
Kana zvarema When life is hardKana zvaoma When things are hardDaidzai Jesu Call on JesusNdiye mutungamiri wakanaka (x2) He is the Lord of righteousness (x2)
In the early hours of the morning many give in to bodily exhaustion and begin to dose. Those who remain awake, however, encourage them through the song, ‘Muka muka iwe mutendi wazorora’:
Mutendi wakarara Believer, why do you sleep?Mutendi wazorora Believer, why do you retire?
Refrain:Muka muka iwe Wake up, wake upMuka muka iwe Wake up, wake up
This is reminiscent of the scene in Gethsemane, when Jesus taught his disciples to pray so that they would not be led into temptation (Luke 22: 40). Before long, the women sing ‘Kwayedza, kwayedza’ to introduce the dawn of the new day.
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Zvino kwayedza It has dawnedKwayedza, kwayedza Dawned, dawnedKwayedza mumwoyo mangu Dawned in my heartJesu ndiye zuva rangu Jesus is my sunKwayedza mumwoyo mangu It has dawned in my heart
This is a metaphor of Jesus’ triumph over temptation, which is deemed to have occurred in the heart of each singer. Through this song the singers also express their commitment to walk in the light emitted by Jesus, who is likened to the sun (Jesu ndiro zuva rangu).
Hope for beatific reunionWithin the corpus of songs for mourning, there are some which try to take away the mourners from the alienation of death to the hope of a future reunion with the deceased. The song ‘Kunoshamisa ikoko’ depicts heavenly bliss, which is always graced by angelic music. This song tries to assure the chances for eternal glory of the bereaved family of the deceased. Furthermore, it juxtaposes the burdens of earthly life with the bliss of heaven.
Ikoko ThereKunoshamisa ikoko How wondrous it isKusisina mutoro Where there are no burdensSimbi dzorira nengirozi dzotenderera Music plays and angels go round and
roundKunoshamisa ikoki Oh! How wondrous it is there
More explicit about this hope is the song ‘Tichazoonana’ which implies that the deceased is privileged to have got to heaven first. However, family members and other mourners crave the community that they once enjoyed with him/her, and thus express the hope that they will meet again when their time to go ‘home’ also comes. The expression ‘Tichazoo-nana’ is an attempt to describe life in heaven as some kind of family reunion. It is not clear whether the image of seeing each other, based on the verb kuonana implies that resurrection is understood in the physical or spiritual sense. It may well be that kuonana is used in the typical analogical sense as referring to a beatific vision in the presence of God.
Tichazoonana Till we see one another againTichazoonana Till we see one another againTichazoonana kudenga We shall meet in heavenKana tasvikawo When we get there tooTichazoonana kudenga Till we meet again in heaven
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Appeals for God’s mercyThe last aspect that we will consider is that of the petitions the mourners make to God, on behalf of the deceased. In their representative capacity as people of God, the mourners appeal for God’s clemency in judging the deceased. They put in a good word for him/her as they make reference to the good works that the deceased is understood to have done in his/her lifetime. ‘He/she used to live well with others in the neighbourhood’, they claim. Such petitions are made in the hope that God will look favourably on the sins of the departed.
Mucherechedze Baba (x4) Look favourably upon him/her, Oh Lord (x4)Aigara zvakanaka He/she lived wellNevamwe muraini With others in the neighbourhoodMucherechedze Baba Look favourably upon him/her, LordMucherechedze Baba Look favourably upon him/her, Lord
Theological reflections on the chorusesThe choruses presented above are a clear example of the Christian women’s contribution to the presence of the church in situations of suffering and bereavement. These songs can, at best, be described as acts of Christian diakonia, as they not only provide therapeutic value and solace to the bereaved family. The songs carry messages of courage and hope in the face of tragedy – they assist the spirit of the bereaved to soar from the depths of despair to a stage where they can face life again with expectation. The songs exhort the bereaved and all people present to submit to God and to identify with the salvation plan introduced through Jesus Christ. It is clear that through their songs the women will be preaching the Gospel of Christ. They thus expect some form of cooperation from all present. This premise is based on the assumption that everyone present has at least heard of Jesus Christ and the church, although their church affiliation is of little consequence.
It is also important to note that the songs sung during mourning attempt to accommodate a diversity of churches of which the mourners are members. The songs themselves are ecumenical in nature and thrust, and do not necessarily belong to a specific church or denomination. Due to their ecumenical nature they are structured in free verse, with an easy refrain that is often repeated many times. Thus they are easy to follow, even for people who hear them for the first time. This guarantees easy participation by everyone.
Unlike the funerals, which are mostly officiated over by a church pastor, the mourning period is often left to run without let or hindrance. There are minimal formalities, if any. To the extent to which these songs form part of a non-formal, non-canonised and free corpus we may, thus, refer to them as the ‘vernacular’ version of a wider corpus of church songs. What makes them unique, however, is that whilst those that appear in church hymnals are written, these are not. Furthermore, by virtue of not being reflected in the hymnal they are thus not approved in formal church liturgies. To the extent that they are considered an aberration of the norm it is reasonable for us to view them as
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a product of subversion of officialdom. In a more positive sense, however, the songs should be viewed as an innovative search for relevance. It is important to apply the term ‘vernacular theology’ to the process that Shona Christian women undertook in their quest for relevance through song. Whilst the term ‘vernacular’ refers to the ‘language spoken in a particular area or by a particular group, especially one that is not the official or written language’ there are interesting parallels in this situation of mourning. In a country where missionaries and the subsequent indigenous Church leadership imposed ‘denominationalism’ on their membership, there seems to be an unprecedented commitment by Shona Christian women to subvert this mode of Christian existence. The scourge of ‘denominationalism’ has a mutually inclusive relationship with the ‘comity’ principle which was formally adopted at the Centenary Conference on the Protestant Missions of the World in London, in 1888. While comity had always basically and essentially meant the division of territory and allocation of spheres of occupation, with delimited boundaries, as well as non-interference in one another’s affairs in Africa it resulted in the creation of denominationalism by geography. In Zimbabwe, the comity principle was given official endorsement by the colonial state. Hence, through this cooperation the churches became privy to the systematic destruction of the African family. Furthermore, through the establishment of church schools more damage was inflicted on the African family. Children were separated from the religion of their parents, and brothers were separated from sisters, depending on which church school they went to. (The school that one went to determined the church denomination one had to be a member of.)This situation did not bode well for the unity and integrity of the African family. Furthermore, as Maimela aptly observes, ‘Not only does denominationalism imply a moral surrender on the part of the church to national, racial and economic interests that happen to dominate society; it wastes the energy that the church needs to proclaim the message of reconciliation’.
Symptoms of family disunity manifested when Christian members of one family wanted to deal with matters pertaining to occasions such as marriage, death, memorials, etc. Furthermore, the crisis within the family always surfaced regarding the appropri-ate church songs to be sung. This situation may have generated the need to compose a separate corpus of Christian songs to unite all members of the family as well as the disparate church members committed to expressing solidarity with a particular family in situations of bereavement. In cases of death and mourning it thus became convenient to compose songs that are not only Christian, but ecumenical. This forged family unity as well as unity amongst the various churches represented.
In this light we may as well provisionally argue that the theology that informs the songs of mourning (examined above), is an ecumenical vernacular theology. This theol-ogy transcends denominational divisions and promotes the inter-church collaboration necessary for ecumenical learning and the growth of the ecumenical spirit. Through song, the women bring to the community Jesus’ ministry of healing and reconciliation. Also through song the women mourn with those who mourn, and bring hope to those who are in situations of despair. Through song and dance Shona Christian women have managed to create a relevant and contextual theology from the bottom, up.
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ConclusionThe songs which we examined above constitute one of the many creative forms of
Christian diakonia which Shona women offer to their communities in times of crisis and need. They are not only therapeutic for the bereaved, but for the whole extended family and the community at large, which has been divided by a colonial missionary denominational theology. Through these songs, which incidentally bear an ecumeni-cal stamp, Christian women heal not only the family that suffers from the alienation of death, but also a community divided by religious alienation. They also evangelise fellow mourners who participate at the funeral. Overall it is important to notice an incipient liberation strand in these songs. However, one would not want to draw far-reaching conclusions on that aspect without having undertaken a more comprehensive investigation of the cultural, socio-economic and ecclesiastical contexts within which to locate the songs and their underpinning theology.
ReferencesBeaver, P.R. 1962. Ecumenical beginnings in Protestant world mission. New York:
Thomas Nelson & Sons.Hornby, A.S. 2000. Oxford advanced learner’s dictionary of current English (6th ed.).
Oxford: Oxford University Press.Maimela, S.S. 1982. Denominationalism – an embarrassment to the church. In: W.S. Vorster
(ed), 1–11. Denominationalism – its sources and implications. Pretoria:University of South Africa.
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