Mozambique
Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2005)
The Chopi communities live mainly in the southern part of Inhambane province in southern Mozambique and are famous for their orchestra music. Their orchestras consist of five to thirty wooden xylophones, called timbila, of varying sizes and ranges of pitch. The timbila are finely manufactured and tuned wooden instruments made from the highly resonant wood of the slow-growing mwenje (sneezewort) tree. Under each wooden slat, a resonator made out of calabashes is fastened, tightly sealed with beeswax, and tempered with the oil of the nkuso fruit, giving the timbila their rich nasal sound and characteristic vibrations. The orchestras are composed of timbila masters and apprentices of all age groups, with children playing next to their grandfathers.
Each year, several new pieces are composed and performed at weddings and other community events. The rhythms within each theme are complex, so that the player’s left hand is often executing a different rhythm from that of the right hand. Lasting about one hour, performances feature solo and orchestra themes, using varying tempi. Closely connected with the music are particular timbila dances that are performed by two to twelve dancers in front of the orchestra. Each timbila performance includes the solemn m’zeno song, performed by dancers, while musicians play softly and slowly. These texts, full of humour and sarcasm, reflect contemporary social issues and serve to chronicle community events.
Most experienced timbila performers are old. Although several timbila masters have started to train young musicians and have also included girls in their orchestras and dance groups, young people are increasingly losing contact with this cultural heritage. In addition, deforestation has led to the scarcity of the wood needed to produce the particular sonority of the timbila instruments.
TIMBILA
A traditional Mozambican instrument from the xylophone family, originally used by the Chope people in Zavala, in the province of Inhambane (southern Mozambique). The first references to the timbila appear in Portuguese writings from the 16th century, however, it is believed that the existence of such instruments on the southeast coast of Africa probably arose as a result of contacts established during the 10th century with present-day Indonesia, where this type of instrument is also found.
It should be noted that in Mozambique there are two names for this type of idiophone: the timbila, originating from the Chope people and known in the province of Inhambane (districts of Zavala, Inharrime, Panda, Vilanculos, Homoine) and the varimba (or valimba), originating from the Sena people and known in the provinces of Manica, Sofala, and Tete (in the districts of Changare, Moatize, Mutarara).
The timbila (plural of mbila = 1 wooden blade) is unique in its use of massalas (or “maçalas”), which are gourds of various sizes that act as sound boxes and are located under each wooden blade. Each blade has a small hole through which the sound is transmitted to the sound box (gourd). This is attached to the blade using a mixture of natural components, such as beeswax, earth, and animal intestine. The materials used to make the mbila are essential for giving it its typical timbre. Its construction, an art passed down from parents to children, takes about three and a half months. The timbila is played with two sticks that have a rubber ring at the tip. To form a timbila orchestra, several types of mbilas are needed, which differ in number, size (in length and width), and the size of their gourds.
In Zavala, tribal chiefs traditionally gathered the people together in meetings called msaho to socialize, sing, and dance. At these meetings, musical and dance performances were held with timbilas, during which the best artists were chosen and awarded prizes. Details related to the construction of these instruments were also discussed.
Currently, in the spring, a timbila festival is held, bringing together the best orchestras to perform and evaluate new musical compositions. Each orchestra can have up to twenty musicians and compose only one piece per year, always based on the previous one, so that the musical characteristics of each orchestra are maintained.
Among its various performers, Eduardo Durão and Venâncio Mbande stand out. Of particular note are the Silita trio, which combines the sound of the timbila with female vocals, and the groups Timbila and Muzimba, which fuse the traditional sounds and rhythms of the timbila with those of modern instruments. -MOZ
Musica Chope De Mocambique is a vibrant tapestry of sound that captures the soulful essence of African folk music. Hailing from the Netherlands and released under MW Records, this album feels like an auditory journey through Mozambique’s rich cultural heritage. The genres listed—Folk, World, & Country—are just starting points; what unfolds across its tracks defies easy categorization. It's raw, organic, and deeply human. The production credits tell part of the story: Engineer Lieven Muësen ensures clarity without sacrificing authenticity, while Paul Rans (producer and liner notes writer) brings cohesion to what could have been a chaotic mix of styles. And yet, it’s the music itself that speaks loudest. With tracks rooted in traditional African rhythms and melodies, the album invites listeners into a world where time slows down, and every note carries weight. Two tracks stand out as personal highlights. First, there’s "Makara". This piece grabs your attention immediately with its hypnotic percussion and layered vocals. You can almost picture dancers moving rhythmically under the stars, their feet pounding against the earth in sync with the beat. What makes "Makara" unforgettable isn’t just its technical brilliance but how it evokes emotion so effortlessly. There’s something primal about it—a call to connect with something bigger than yourself. Then there’s "Entry of the Dancers," which lives up to its name. It’s not just one track but two versions on the album, each offering a slightly different take. The first version builds anticipation, layering instruments until the energy becomes almost palpable. By contrast, the second rendition strips things back, allowing individual elements to shine. Both interpretations showcase the artistry of the musicians involved, leaving you wondering why more artists don’t experiment with dual presentations of their work. Other notable mentions include "Watchawe Wa Tave Sibedjala Insikati Wa Ku Bile Vila Si Bulukwana"—a tongue-twister of a title for sure, but also a standout moment of vocal storytelling—and "Chimveka," whose haunting melody lingers long after the final note fades. What strikes me most about Musica Chope De Mocambique is how unpolished it feels—not in a bad way, but in a refreshingly honest one. In an age when music often leans toward perfectionism, these songs embrace imperfection. They’re alive, breathing entities rather than static recordings. That’s rare these days. As I reflect on the experience, I find myself thinking about the power of tradition. How do we preserve culture in a globalized world? Albums like this remind us that the answer lies not in locking traditions away but in sharing them openly, letting them evolve naturally. If anything, my only complaint is that some track titles are so lengthy they might break your playlist formatting! In short, Musica Chope De Mocambique is a gem worth discovering. Whether you’re a fan of African folk or simply looking for something new, this album offers a window into a world many of us rarely see. Just don’t blame me if you end up dancing around your living room late at night—it’s kinda hard to resist.
Various – Música Chope De Moçambique (Chopi Music From Mozambique)
Label: MW Records – MWCD 3018
Format: CD, Compilation, Reissue
Country: Netherlands
Released: Aug 18, 2009
Style: African, Folk
Source: Digital
1. Mgodo - Timbila Ta Venancio – Mtsitso 1 4:44
2. Mgodo - Timbila Ta Venancio – Mtsitso 2 0:40
3. Mgodo - Timbila Ta Venancio – Mtsitso 3 2:26
4. Mgodo - Timbila Ta Venancio – Mtsitso 4 0:53
5. Mgodo - Timbila Ta Venancio – Entry Of The Dancers 3:00
6. Mgodo - Timbila Ta Venancio – Mgenisso 5:00
7. Mgodo - Timbila Ta Venancio – Mwemisso 7:24
8. Mgodo - Timbila Ta Venancio – Mchuyo 5:00
9. Mgodo - Timbila Ta Venancio – Chibudu 7:36
10. Mgodo - Timbila Ta Venancio – Mzeno 15:37
11. Mgodo - Timbila Ta Venancio – Mabandla 6:29
12. Mgodo - Timbila Ta Venanci – Mtsitso Kugwita 1:52
13. Grupo Makara De Ngulene – Makara 2:45
14. Grupo Chimveka – Chimveka 2:29
15. D'Boye Wa Pendawa – Watchawe Wa Tave Sibedjala Insikati Wa Ku Bile Vila Si Bulukwana 7:45
Notes
Engineer – Lieven Muësen
Liner Notes, Producer – Paul Rans
Originally released on CD in 1999 on Music & Words label.
Recorded by VRT Radio 3 in Venancio Mbande's compound, The Centro de Musica Chopi 'Catini', near the village of Helene, Zavala, Mozambique, September 25-28, 1997.
0 comments:
Post a Comment