Dance occupies a crucial place in Zimbabwean culture, tradition, spirituality, and history. There are many dances that reflect the culture of the people, although the dances may have changed throughout the years. Ethnic diversity is also a key factor in influencing the dances of the Zimbabwean culture. These dances are self-reflective, for the entire community because all music and dance are communal events.
Zimbabwe boasts a rich array of dances, including Jerusarema, Mbende/Isitshikitsha, Muchongoyo, Dinhe, and Borrowdale Clarks, to name just a few. These dances originate from different genres but share a common goal of entertaining fans, each with its own cultural significance and distinctive style. Zimbabwean dances are performed for three main purposes; religious, social and ceremonial. They are also used to teach social values, recite history, encourage people to work, aid in funeral proceedings, celebrate festivals, praise or criticize members of the community and more importantly, help communities connect with the ancestors.
Zimbabwean dances are communal and largely performed in the rural areas, where about 75% of Zimbabwe’s population lives. Rhythm is an important aspect of Zimbabwean traditional dances. Like most African dances, Zimbabwean dances employ polyrhythm, which is usually complemented by body articulation.
The most common musical instruments used in the dances are mbira, hosho (rattle), ngoma (drum), magavhu (leg rattle) and the human voice. The mbira is perhaps the most widely used instrument in traditional Zimbabwean music. It is plucked with the fingers to produce the melody, and is often used during religious rituals by spirit mediums in order to communicate with ancestral spirits.
Another important aspect of traditional dance is the clothing. Jerusarema dance, Shangara, Dinhe, Mbakumba, Mbira dance and Mhande are popular dances among the Shona people who constitute about 76% of the Zimbabwean population.
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Traditional Dances and Their Significance
Jerusarema (Mbende)
Jerusarema, also known as Mbende, is perhaps the most celebrated dance of the Shona people. It is practiced by the Zezuru Shona-people living in the Murehwa and Uzumba-Maramba-Pfungwe (UMP) districts in eastern Zimbabwe. Because of its sexual movements, the dance was originally performed exclusively during the marriage ceremony of a chief's daughter but it is now open to all men and women. Jerusarema is characterized by a single polyrhythmic drum sound accompanied by woodblock clapper sounds, handclapping, yodeling and blowing whistles. Unlike most dances, Jerusarema does not rely on intricate foot stamping or many drummers. Instead, the music is performed by one master drummer. In the course of the dance, men often crouch while jerking both arms and vigorously kicking the ground with the right leg in imitation of a burrowing mole.
Before colonial rule, this ancient fertility dance was called Mbende, the Shona word for “mole”, which was regarded as a symbol of fertility, sexuality and family. Under the influence of Christian missionaries, who strongly disapproved of this sexually explicit dance, the dance’s name was changed to Jerusarema, deriving from the Shona adaptation of the name of the city of Jerusalem, to endow it with a religious connotation. Both names are commonly used today. In spite of its condemnation by the missionaries, the dance remained popular and became a source of pride and identity in the struggle against colonial rule.
The dance is changing its character and meaning as its enactment as an exotic animation for tourist audiences becomes more widespread. It is also increasingly used at political party rallies, where it is removed from all its original intentions.
Mbira Dance
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Mbira dance is perhaps the most religious of all Shona dances. It is usually performed by community elders at important ancestral ceremonies such as the Bira. The dance is accompanied by Mbira music and used as a medium to invite ancestral spirits into the midst of the community. Mbira dance and music therefore play a significant role in bringing the spirits of the ancestors into the community.
Mbira dance is regarded as unique for its intricate foot movements, graceful pauses and high-energy jump bursts.
Dinhe Dance
The Dinhe dance is a religious dance that is also performed to praise and invite the ancestors to speak to the community. A lot of war movements and movements of joy are used in this dance. Dinhe also exhibits the agricultural aspect of life, and such props reflecting these themes may also be used. The Dinhe dance uses different songs to accompany the dance, and the mood is critical in inviting the ancestral spirits.
Muchongoyo Dance
Popular dances among the Ndebele include Mushongoyo, Isitshikitsha, Amabhiza and Ingquza. Historically, Muchongoyo dance was performed by men in preparation for war or after war, and especially when the Ndebele warriors were victorious. The dance is typically performed with a stick and a shield. Men do the dancing and women are responsible for the singing. It is also a social and recreational dance, and does not have a religious feature; instead it highlights the events of the society.
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Mhande Dance
Mhande dance is mostly popular among the Karanga people of Zimbabwe. The dance uses indigenous ritual context or spirituality (known as chikaranga). It is characterized by distinct rhythms and melodies, slow and dignified foot movements and the use of handheld objects and substances such as snuff and ceremonial beer, which symbolize interaction between the community and the ancestors.
Borrowdale Dance
Exploring the rich tapestry of cultural traditions in Zimbabwe leads us to the vibrant and energetic Borrowdale dance. It's more than a performance; it's a celebration. The Borrowdale dance originates from the traditional dances of the Shona people, reflecting their cultural heritage. Traditional clothing for these dances adds to their vibrancy and meaning. Instruments beyond the Ngoma drums-like mbira (thumb piano) and hosho (maracas)-create rich musical layers that accompany the dancers' steps. The evolution of Borrowdale dance has been influenced by modern times, blending traditional Zimbabwean dance with contemporary elements.
Other Notable Zimbabwean Dances
There are about 12 prominent traditional dances in Zimbabwe, namely Shangara, Mbira dance, Dinhe, Mbakumba, Muchongoyo, Jerusarema, Mhande, Isitschikitsha, Amabhiza, Ingquza, Chinyobera and Ngungu.
Another important dance for the Ndebele is Isitshikitsha - a ceremonial dance, historically performed for the King’s pleasure. Isitshikitsha was also commonly performed at the injelele, a rainmaking ceremony held during drought seasons by the Ndebele people of Matabeleland Province in Zimbabwe. The dance routine employs a unique brand of rhythm and style. In contemporary times Isitshikitsha is performed at social gatherings, weddings or first fruits ceremonies.
Contemporary Dance and Festivals
The contemporary dance space has been active in Zimbabwe for many years with groups such as Tumbuka Dance Company becoming a global phenomenon. The Dance Trust of Zimbabwe through the then Dance Foundation Course helped mentor and train a lot of dancers. Now Afrikera Trust has been doing the most in keeping professional dance alive in Zimbabwe.
Some notable festivals in Zimbabwe that promoted dance include the Harare International Festival of the Arts (HIFA), Jibilika Dance Festival, Mafuwe International Festival of Dance, Intwasa Arts Festival, and the Dance Trust of Zimbabwe Festival. These festivals highlighted the vibrant arts scene in Zimbabwe, providing opportunities for dancers from different genres and backgrounds to come together, celebrate their craft, and contribute to the rich cultural landscape of the country.
The Role of Dance in Zimbabwean Music
Dance groups have been a part of Zimbabwean music for a long time, as evidenced by iconic videos such as “Gore Renzara” by Green Arrows, “Katarina” in Mukadota’s band, and “Manyowa” in John Chibadura performances. There was a notable peak in the past when female dance groups like Mambokadzi and Girls La Musica brought vibrant energy to the stage. Those were the days of hits like “Wamatuka” by Gift Amuli and “Idya Banana” by Joseph Garakara.
Even within the Zimdancehall and Urban Grooves genres, we can witness captivating performances. For instance, when artists like Ex Q take the stage, they often accompany their performances with three talented, dreadlocked dancers. At a certain period, Zimdancehall embraced a dance known as the “Dance of Clacks,” where numerous youths from the ghetto would showcase their moves while carrying small bags on their backs. This unique dance style became popular among the youth, adding a distinctive element to the Zimdancehall culture.
Dancing holds immense entertainment value for fans during musical performances in Zimbabwe, and it has become a prevalent practice for Zimbabwean bands to integrate dance groups into their shows.
Allow me to highlight a few instances where dancers truly excelled in their performances. One notable example was the 2005 Gala event in Kwekwe, where Franco Slomo Dhaka, with his impeccable dance moves, captivated the audience and left a lasting impression. Even today, many people vividly recall the memorable moments of Franco Slomo’s dance routine to the song. Just mentioning the name evokes images of his energetic performance, showcasing his remarkable talent and skill.
Similarly, maJuice has been making remarkable strides in the Orchestra Mberikwazvo ever since he won the Nama dancing award in 2020. A memorable show that stands out is the Independence Gala in 2007 Tongai Moyo delivered a stellar performance during this event, and the synchronization of the dancers was impeccable. Shiga Shiga truly understood the assignment and effortlessly elevated the performance.
There was a heartwarming article Dreams amplified as out-of-school dancing youths from Chitungwiza on EarGround Africa about a dance group from my hometown, Chitungwiza. According to the article, these dancers were using their talent to earn money and pay for their education. This is truly commendable, especially considering the prevalence of drug use among youths. Engaging in dance helps keep them away from such harmful activities.
Othnell "Mangoma" Moyo is a Zimbabwean Performing Artist,Instrument Builder and Author. He plays, sings, dances, writes and teaches about African ethnic instruments and has been active as an creative since 2001.
In conclusion, dance in Zimbabwe is more than just entertainment; it is a vital part of the nation's cultural identity, history, and spiritual practices. From traditional dances like Jerusarema and Muchongoyo to contemporary expressions, dance continues to evolve while retaining its deep-rooted significance in Zimbabwean society.
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