Rebel woman: an itw with Zimbabwean singer Chiwoniso

Momo’s basement is rammed in appreciation of Chiwoniso’s only London date. Mbiras, percussion, guitar, voice – it’s a semi-acoustic vibe that works the space well and Chiwoniso tells us just enough about each song, achieving a beautiful fusion between ancient tradition and singer songwriter sensibilities. Her songs are of struggle, respect and empowerment, sung in Shona and occasional English. Particularly moving is Vanorapa, about the healing powers of the elders, a song her late father taught her. The album’s title track, Rebel Woman, is both delicate and forceful – reflecting on the experience of the female Zimbabwean freedom fighters and making new rules for women. Yet Chiwoniso doesn’t see herself as a spokesperson for women as she explained when we chatted over a wind-down glass of wine.

CAV: Your songs are political and have a strong woman’s angle – what drives you when you write?
Chiwoniso: Many people have commented on this. It’s never something I sit and think about, it’s a natural expression. With music I’ve never created anything or thought that I’m doing it to prove a point as a woman. It’s always as a person! It’s only later when the importance comes through and I realise this is what it means to others. I’ve never felt under-appreciated as a chick!

CAV: It’s only relatively recently that women have played mbira in Zimbabwe and there are colleges now, I know Stella Chiweshe made a big difference there, but what inspired you to play?
Chiwoniso: Stella Chiweshe was an inspiration; however the real strength came from my parents, especially my father (ethnomusicologist Dumisani Maraire).  I started to pick up and understand mbira from a young age in a free and open way. Later I thought about it more deeply and understood what went before.

CAV: I wanted to know if Chiwoniso channelled spirits or if she approached playing simply as a musician.
Chiwoniso: “I always feel I am channelling. It depends on the song, what kind of spirit I need to channel. Every song is different. Some are somewhat undetermined at the beginning, and then it clicks and soars and I’m flying with it. I always channel, I never play just for entertainment.

CAV: How do you compose?
Chiwoniso: I have different phases – I could be drinking water or tea, but my ideas are strongest when I drink wine. Or I’ll go straight to bed and dream. I might write in the night or it will be with me in the morning and I’ll think of a melody for it.  Or someone will write a poem or compose a song and call me, I don’t often reach out to ask, and say they thought of me. Sometimes I wonder if I can take the responsibility, but I do take it and if there’s a connection I will work with it, but I always make sure wherever anything else has come from that I add to it so that it’s a rounded composition.

CAV: Cumbancha is a great label, how did you get through to them?
Chiwoniso: I met Jacob (Edgar, CEO) through Keith (Farquharson, her producer/collaborator). We’d worked on the album for 2 1/2 years and I didn’t really want a label and Jacob wasn’t even sure he wanted to sign me. We’d done so much ourselves: Keith had taken out a loan, we’d found all the musicians and had to record all over the world. But when we met in Germany there was an instant connection and everything fell into place. It’s a deep growth process, things don’t just happen, we talk and listen and understand what each other is saying. We said ‘Let’s do it, let’s open doors and change the world. Let’s make people understand’.

CAV: Which other artists do you enjoy?
Chiwoniso: Idan Raichel –he’s incredible, Simphiwe Dana, Lebo Machile, Alpha Blondy, Salif Keita, I’m going back to Arrested Development – very cool, Oasis – so on point, Cold Play: RESPECT, those guys are hot! It depends on the mood I’m in.

CAV: Where would you like your career to go?
Chiwoniso: That’s a good question! I’d like it to go where it’s supposed to go. I’d like to touch the women of the world – Afghan women, women of Iran. I don’t think it’s the women of Africa who are being so oppressed. I think it’s in the Middle East and that concerns me deeply. I’m not just about music, I want to do work with people , make a difference, maybe build a road or work with children, or wake up with a new idea, so long as it will make things better.