By S’bo Gyre l Daily Maverick
IVAN Mazuze is an acclaimed saxophonist whose latest offering, Penuka, exposes the depth of global influence and exchange of African culture through music.
The connections that Africa has to the rest of the world are well documented. From archaeological discoveries to food and other tangible goods brought about by trade, the plethora of threads that tie the continent to the rest of the world runs deep.
Music is no exception. From the banjo, an African instrument now synonymous with American cowboy culture, and percussion drums used in many a musical ensemble, the continent’s contributions can be seen and equally heard.
“If I bring an influence of Indian music into African traditional music, it’s because African traditional music, even in history, has been influenced by the encounter of different traditions from other continents and still exists today,” says Ivan Mazuze, acclaimed saxophonist and a forever student of jazz and other music.
The Mozambique-born, Norway-based composer’s latest album, Penuka, delves into the profound influence of Arab and Indian cultures on African traditional music, presented through a contemporary jazz lens.
The music is a testament to the centuries-old cultural exchanges facilitated by trade routes across the African continent.
Mazuze’s sixth studio album keeps true to his insatiable desire to blend the academia of his art form with the art itself. The score may differ in its notation, but the deep-seated and introspective themes prevail – the legacy of his musicological studies.
“From my debut album, I was busy with my identity. Those first five albums identify me as an African. I managed to keep reminding myself who I am through music, sound and composition,” he says.
This intentionality shines through his discography as his understanding of his context conjures a self-awareness personified through the music.
“I thought music will be a great tool to place myself in this vast industry and various tales of where we come from.”
But as any African will tell you, the depth of cultural richness the continent possesses makes it an endless tapestry of discovery.
“We are going to pass on a contribution – we cannot give it all,” Mazuze explains.
There are questions about globalisation and its effects on the African cultural zeitgeist. The challenge comes in finding the sweet spot that does not take away from what natives of Africa have contributed and continue to contribute.
“From my years in meeting people who don’t come from the same cultural background as [us] – I always try to find what makes us common, the foundation that makes us human beings.
Then, when it comes to technical questions like music itself, the way the music, the rhythm and the beat breathe, I find more equality than difference from my perception. I’m always searching for what is common.”
The opening track of the LP perhaps best exemplifies this intention. Titled Bongile, meaning “We are thankful” or “grateful” in isiXhosa, his introduction to us of his sonic universe is inspired by the traditional music styles of the nomadic peoples in India’s Rajasthan state.
Bongile tells a story of migration and cultural exchange, highlighting the interactions between Rajasthani culture and other cultures, including those in Africa.
The vocals caress one’s eardrums in an unusual yet distantly familiar way, guiding one’s immersion in the music.
The project also taps into the gravity that spirituality plays in this amalgamation over time. Stretching not too far away from southern Africa, songs like Mamidje pay homage to African religious practices, particularly those centred on spirit possession rituals, which are prevalent in the region.
Featuring highly acclaimed Zimbabwean vocalist and guitarist Maxwell Vidima, the song specifically praises the ritual known as bira, from Zimbabwe, in which music and dance are used to invite ancestral spirits to communicate with the living.
Through this composition, Mazuze pays tribute to the enduring cultural significance of these ancestral rituals and his late brother of the same name.
His unwavering dedication to the continent of his birth and the power music has to transmit that pride have set him apart in his illustrious career.
“As an artist, what I have learnt, especially because I have travelled quite a bit, is that people and fellow musicians are interested in you and where you come from.
“I learnt that we often try to portray to be someone else, but societies out there are interested in where we come from. They find it interesting to listen to something else that is not a part of globalisation.”
“Penuka” means “to expose” in Tsonga and Mazuze has dug deep in his knowledge bank and experiences to stay true to this. His performance at this year’s Cape Town International Jazz Festival unveiled yet another level of a cavernous topic. But it all will be in vain if this form of archival work is not codified in some significant way. For Mazuze, this is a task that can only lay in particular hands.
“Governments and cultural institutions also have the responsibility of mixing commercial trading with commercial culture,” he says.
“We have this opportunity, with all these educational institutions, to conduct more research to mark down the history we have now. We have a chance to correct our mistakes so our next generations have a greater resource to create.”
A lot of African history has been lost over time due to many reasons, but the work of people like Mazuze addresses this, bridging the past to the present and laying the foundations for future generations. DM
S’bo Gyre is an entertainment specialist and freelance writer.
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