Andrew
Wilson Tinotenda Waison
Society Correspondent
JAH Prayzah’s single “Ticheneke” comes with a poetry flair that reminds many of a long lost traditional homage as a result of cultural globalisation.
According to the Shona culture, the Creator/God (Mwari) is omnipotent. However, the tradition equally recognises ancestors and other spirits that serve as intermediaries between Mwari and the people.
The single “Ticheneke” is nothing less than a reflection on the bases of Shona culture.
The song is currently trending on various music sites.
In his exposing monologue, Jah Prayzah, real name Mukudzei Mukombe, ridicules a generation left in a plunge of identity crisis.
He utters: “Pane mazwi nema shoko, ekuramba kutsanangudzwa zvizere pamusoro pe uso hwako;
Ndaramba ndabvunza, ndikaramba ndacherechedza;
Zvikanzi tarisa uwone, hapachina Chika chakachena kana chingakuenderera…”
“Ticheneke” offers listeners a plethora of takeaways.
It evokes elements of hope, which can be derived from appeasing the gods.
“…asi zvisigadziriswe zvizere, ramangwana rako rinojeka.”
Shona people believe in the Creator, but worshipping of ancestors is still very important among the population.
They also value totems, which are used to identify different tribes from ancient times.
It has been a pragmatic norm that Shona people pray to appease ancestral spirits and to ensure good health, good rain, and success in business.
And Jah Prayzah uses the single to remind many about the ostensibly forgotten practices.
He predominantly dwells on the element of “kubvunzira” (asking the gods).
Magic and witchcraft are integral part of the said culture.
Shona people believe in two kinds of spirits, “shave” (wandering spirits) and “vadzimu” (spirits of the ancestors)
Both can be malevolent or benevolent.
Evil spirits are the result of witchcraft and cause disasters.
In “Ticheneke”, the musician dwells much on the malevolent effect of the spirits that brings about misfortune to a generation.
“Hapana chika chakacheka kana chingave nenduramo
Nekuti madzi sekuru ako, akakanganwa kubvunza tateguru.
Nhasi zvodzoka zvokupandukira zvokupa urwere…,”
The song title itself is a plea for cleansing, despite the foreboding atmosphere.
The Shona coined word, Ticheneke, is derived from the word “Chena” which means clean and the prefix assume the process of getting cleansed.
Even the chorus repetition suggests the importance of an appeasing ceremony.
The visuals depict an early cultural setup with neat pole and dagga huts in the background.
The symbolism of “kushopera” (divine seeking) in the video is an insight of how the appeasement ceremonies are done.
Another symbolic statement of note is the AIDS ribbon on one of the traditionally dressed gentleman’s forehead.
“Denda nehurwere”.
Denda refers to an ailment or disease in the Shona language.
In early societies HIV and AIDS was fallaciously acclaimed to misfortune, “jambwa or munyama”.
Online Reporter