Online Reporter
Fungai Lupande
Book Review
In a world where cultural identity is increasingly shaped by global influences, author and scholar Charles Mavhunga believes Zimbabwe’s greatest strength lies in embracing its roots.
That conviction forms the foundation of his newly launched book, “Mbira Virtuosos: Stories of Zimbabwe and Mbira Legends”, a work that goes beyond music to tell the story of Zimbabwe’s heritage, identity and cultural diplomacy.
Launched recently at the Mbira Festival held at Baradzanwa Cultural Village, and officiated by First Lady Dr Auxillia Mnangagwa, the book seeks to document the lives and contributions of legendary mbira players while positioning the instrument as a national brand and tourism product.
Speaking in an interview after the launch, Mavhunga said the book was inspired by research undertaken during his doctoral studies in management, where he examined the relationship between branding and tourism performance.
“My research highlighted that there are products in Zimbabwe that have not been properly branded, and one of those products is the mbira,” he said.
“Many people associate the instrument with evil spirits and misconceptions. That motivated me to conduct deeper research and produce this book.”
Far from being a mere academic exercise, “Mbira Virtuosos” is based on extensive fieldwork involving interviews with 21 mbira players, who voluntarily shared their experiences and insights.
Among the personalities featured are internationally acclaimed musicians and cultural ambassadors whose influence stretches far beyond Zimbabwe’s borders.
Mavhunga groups them into global legends, internationally recognised players and emerging talents.
“We had legends such as Ephat Mujuru, Tute Chigamba and Wilfred Nyamasuma. We also looked at upcoming musicians because the list had to capture different generations,” he said.
One of the most fascinating discoveries, according to the author, was that some mbira players have become attractions in their own right, drawing visitors and scholars from around the world.
“There are tourists who come to see Victoria Falls and Matobo, but there are also those who come specifically to see a mbira player such as Samson Mvurume,” he said. “That means the mbira player himself is a tourism product and should be treated as such.”
Mavhunga reveals that several Zimbabwean mbira masters have taught at prestigious institutions abroad, including universities in the United States.
He cites renowned musician Tute Chigamba, who taught at a number of American institutions, including Harvard University.
“How many of us can say we have taught at Harvard University? Yet a mbira player from Zimbabwe has done that,” he said.
“These musicians are producing lecturers and professors abroad. Before we rush overseas to learn about African culture, we should recognise that some of the teachers being studied there come from Zimbabwe.”
The book also seeks to preserve knowledge for future generations.
In Mavhunga’s view, documenting the stories and achievements of veteran musicians ensures that younger Zimbabweans appreciate the significance of the instrument.
“The new generation must understand why the mbira is important. The legends have done tremendous work and the book provides information that young people can draw from,” he said.
He describes the mbira as one of Africa’s most original instruments and believes it has remained remarkably resilient, despite historical attempts to suppress indigenous culture.
“Mbira has remained original. Other cultures have failed to change its identity. That is why it remains uniquely African,” he said.
Throughout the book, Mavhunga presents the instrument as an important tool of cultural diplomacy capable of strengthening Zimbabwe’s image internationally.
He points to performances by Zimbabwean musicians on prestigious global platforms and says such achievements demonstrate the universal appeal of the instrument.
“Nyamasuma performed at the G20. How many people have attended such a gathering? Yet through the mbira, Zimbabwe was represented on that stage,” he said.
The publication also reflects the growing role universities can play in promoting practical research and innovation.
Mavhunga credits Bindura University of Science Education for creating an environment that encourages scholars to produce solutions and knowledge with real-world applications.
“The environment at the university promotes innovation. We are encouraged not to produce volumes of research with no meaning, but research that generates value and income,” he said.
He revealed that international demand for the book has already emerged from countries such as the United States, Japan and the United Kingdom, with plans underway to publish translations in Chinese and Japanese to broaden its reach.
While “Mbira Virtuosos” celebrates the instrument and its custodians, the book’s greatest contribution lies in its broader message: that culture is not merely a relic of the past but a resource for national development.
Mavhunga argues that institutions should identify and nurture innovations rooted within their communities rather than measuring success solely by student numbers.
“Universities must boast about innovations and not just the number of students they have,” he said. “There are many innovations within communities, and institutions must capture them and build from there.”
More than a chronicle of musicians, “Mbira Virtuoso: Stories of Zimbabwe and Mbira Legends” is a celebration of identity and a reminder that culture remains one of Zimbabwe’s most valuable assets.
For readers interested in music, tourism, heritage and the future of African knowledge systems, Mavhunga’s work provides both a compelling narrative and an invitation to rediscover the sound that has long defined Zimbabwe.
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