The road to Iphupho: Nkwali finds her voice

Bruce Ndlovu, Sunday Life Reporter

WITH over 25 years in the arts, Nomathamsanqa “Nkwali” Mkhwananzi now believes that she has finally found her voice.

This statement, if heard by anyone who has followed the arts over the last two and a half decades, might seem absurd.

As one of the pioneering students of Inkululeko Yabatsha School of Arts (Iyasa), alongside the likes of Sandra Ndebele, Nkwali has been repeatedly hailed as one of Bulawayo’s angelic voices, a singer on whose tongue songs flow with a beauty that can be compared to some of the animal kingdom’s most melodic birds of song.

When she was only seven and appeared as an extra in the movie Power of One, starring iconic Hollywood actor Morgan Freeman, it seemed that she was fated for something greater.

Then, in 2006, when she joined the acclaimed circus act Mother Africa as a singer and dancer, it seemed that those who had predicted that she would be a star were blessed with the gift of prophecy.

For over a decade, Nkwali toured with Mother Africa, blessing far-flung places around the globe with the gift of her inimitable voice.

Even as she navigated the globe, there was that gnawing feeling among those who knew the magnitude of her talent that she could do even more.

It was only after the debut of a cappella album Sithokozile, which earned her the Zima Award for Best Acappella Album in 2016, that she finally seemed to be making strides towards being the solo star many had always known she could become.

A few albums and projects later, the Canada-based star believes that she is only now starting to discover and understand her own voice. It is a voice she hopes to showcase in full on her upcoming album, Iphupho.

The making of Iphupho, she told Sunday Life, reflected that journey of discovery, one that had stretched her not only as an artiste, but as a person navigating life far from home.

“This album was a rollercoaster journey. This is the first album that I have had to record while not at home. I recorded it with some people that I have never seen and some I believe that I will not see during the entirety of my lifetime.

“It is funny because this would not have been possible without the technology that we have in the world now. Some things were done in Britain, some were done in Canada, Harare and some in Bulawayo. It was hectic putting it all together, but in the end, we got it all done,” she said.

That scattered creative process, stitched together across continents, has resulted in a project that mirrors both her versatility and her roots.

“This album contains multitudes. It is very diverse and in it, everyone will find something to love. There is a touch of jazz, Afro-soul and some dance songs in it.

“I also took some traditional songs and tweaked them, and put a modern twist on them. I didn’t change a lot, but just added a modern twist to some melodies that are very well known,” she said.
While she acknowledged the thrill of collaborating with new voices, working across time zones, she said, had brought its own unique challenges.

“Behind the scenes, things were definitely very interesting. Things at times got a bit difficult because of the time differences between various places. When I’m in Canada, we did try to make things work.

“Technology is evolving and collaborations can take place wherever one is. I think the only thing that I can highlight as a challenge is the time difference. It wasn’t a big hurdle because I chose people that I knew would bring out the sound that I’m looking for,” she said.

While acknowledging the enormity of the challenge, she said that, if anything, that experience sharpened her sense of self, musically and personally.

Her experience as a live performer, at home and abroad, had shaped how she approached the making of her latest effort.

“With my experience of performing live, I have come to see what really works for my voice. I also love dancing and that comes through in the album. We have a few wedding songs and a lot of tracks that exhibit my storytelling side. All in all, I would say that this is an album that showcases the woman that I have become,” she said.

That balance between introspection and celebration, she said, ran through the heart of the project.
“The entire project is built around a sense of journey, emotionally, spiritually and culturally,” she said.

“With songs like Sengihamba and Iphupho, I am reflecting on growth, purpose and chasing something bigger than myself. Kubuhlungu touches on pain and loss, while Salukazi sezulu explores identity and spirituality.”

Nkwali said some of the album’s most personal moments are reserved for those closest to her.
One track in particular, she said, was dedicated to her husband, popular broadcaster, Ezra Tshisa Sibanda.

“SamaDawu, is a heartfelt dedication to my husband, whose selfless and philanthropic work has made a meaningful impact in our community,” she said.

“Then you have songs like Terrerina, Kikiki and Bulawayo, which bring in lighter, more rhythmic elements but still connect to the overall story.”

At its core, Iphupho is, as its name suggests, a dream realised, a culmination of decades of growth, experimentation and quiet persistence.

“It is an eight-track project that represents growth, creativity and bold artistic direction,” she said.
“With this body of work, I am pushing boundaries, crafting a unique sound that modernises traditional music while blending it seamlessly with Afro-soul.

“The album is deeply inspired by everyday life and the realities happening around us, making it both powerful and relatable. Iphupho is a heavy, emotional and thought-provoking experience.”

While the album is a testament to the power of dreams, she said her latest effort was also a nod to the power of collaboration in an increasingly connected world.

On the album, Nkwali did not forget her roots, featuring three Bulawayo artistes, Noluntu J, Charles Banda and Jigaaman, a signee of fledgling label, SoMuch Music.

“This project is the result of incredible collaboration, bringing together talented creatives from Zimbabwe, the United Kingdom, South Africa and Canada, where I am currently based. It also marks an exciting new chapter as a production of the recording company, SoMuch Music.”

In one of the album’s most poignant moments, Nkwali turned her gaze to those who came before her, honouring legacies that helped shape the very industry she now inhabits.

With her hometown losing a number of notable heroes over the last few years, Nkwali said she took the opportunity to mourn her fellow comrades in the arts, some of whom she had not had a chance to bid farewell to in person.

“Iphupho is a dream brought to life. There is a song, ,Kubuhlungu, which is a dedication to the departed heroes of art, which include the late Sihlangu Dlodlo, Babongile Sikhonjwa, Desire Moyo, Mthandazo ‘Ndema’ Ngwenya and Ma Eli of Insimbi ZeZhwane.”