13 Jun 2007
Nhetembo
Shona praise poetry is referred to in Shona as nhetembo dzemadzinza, which means clan praise poetry. In the Shona traditional context, it was the medium for expressing genuine and heartfelt sentiments of appreciation, homage and gratitude for any commendable action done by someone to his relatives or even non-relatives. Generosity and concern for others are celebrated virtues at the core of the Shona philosophy of life.
However, generous deeds always required sincere appreciation and thanks. Such a belief is expressed in the Shona proverb, kusatenda uroyi. Clan praise poetry derived its praises from the attributes of an animal, object or organ of an animal that is taken as totem by members of a particular clan as well as from the attributes of the clan's ancestors. It is for this reason why totemism is the basis of praise poetry in Shona culture rather than the attributes of an individual as in Nguni royal praises (izibongo).
While in some Nguni cultures, praise poetry was more formalised and recited to chiefs and kings at public gatherings, in Shona culture its recitation was informal. Every member of the clan across age and sex deserved praise from the clan's poetic praises upon rendering some good service. However, the praises of chiefs were done by close relatives and friends particularly, the chief's nephew (dunzvi) or the chief's friend (sahwira)
THE SOCIO-CULTURAL CONTEXT
The belief in totemism and recitation of clan praise poetry is
a tradition whose history dates back to the initial stages of
Shona culture. Shona verbal artistry evolved in tandem with
the culture that gave rise to it.
With particular reference to Shona praise poetry, its rhythm echoes from the apex of Shona civilisation particularly in the socio-cultural history of the ruling dynasties associated with the Great Zimbabwe state (1250 - 1450), the Mutapa state (1450 - 1870s), the Torwa state (1450 - 1690s) and the Rozvi state (1690s - 1830s).
On the bottom, it reverberated in every homestead, village and chiefdom, making the entire Shona socio-cultural life a rhythm of laudatory remarks.
Praise poetry was part and parcel of the belief in and celebration of totemism. In a typical traditional Shona life, praise poetry graced daily life. No day would pass without it being recited. It is not known exactly when totemism began in Shona society. What is clear is that it was adopted in the mythological times of Shona culture.
According to Shona oral traditions, the adoption of totemism is associated with the earliest known ancestor of the Shona people, Mambiri. He chose the Soko totem to guard against incestuous behavior (makunakuna) and also for the social identity of his followers.
This took place in a mythical place called Guruuswa, which was located somewhere north of the Zambezi River in southern Tanganyika.
As the early Shona grew in number and marriage became difficult (due to the fact that they practiced the custom of marrying only outside one's clan) there was need to adopt a second totem. The Shava/Mhofu (Eland) totem was therefore adopted so as to enable intermarriage between members of the two totems to take place.
In contemporary Shona society there are at least 25 identifiable mitupo (totems) with at least 60 principal names (zvidawo).
Usually members of the clan are not allowed to eat the flesh of the animal or at least there is a token taboo on some part of the animal, such as the heart or trunk of an elephant.
Most Shona believe that to break this taboo would result in a loss of teeth or some other harm; similar sanctions may support a powerful oath made on the clan name; events involving the animal concerned are sometimes interpreted as signs from ancestral spirits; all of which suggest that the mitupo and zvidao have religious and symbolic connotations which make them more than simply names.
But the mythical or religious significance of the clan emblem should not be over-emphasized. Occasionally names have been changed simply to conceal the identity of a group or to adjust its relations with other groups.
The names are most commonly used in a respectful greeting or when one wishes to show gratitude. In the country a wife may praise her husband with his clan names when he presents her with the spoils of a successful hunt; in the towns she may do the same when her husband comes home with a week's provisions after receiving his pay.
IMPORTANT FEATURES OF CLAN PRAISE POETRY
(a) The Clan - It is the core of every Shona
chiefdom. It is a group of related kinsmen who trace their
descent from a common founding ancestor. The founding ancestor
is called sikarudzi. In most clan praises the name of
the sikarudzi is constantly made reference to. For example, in
the praises of the people of the Soko totem, the names
Tovela/Tobela and Mbire are mentioned.
The first was a name for the second known earliest ancestor of the Shona people and the second is a name for the early Shona people that is derived from Mambiri, the earliest known ancestor of the same people.
(b) The Totem - Every Shona clan is identified by a particular mutupo (totem) and chidawo (principal praise name). The totem of each clan was adopted by the founder of the clan and is therefore supposed to be inherited by all his descendants, male and female alike.
The principal praise name is used in addition to the totem if there is need to distinguish people who have the same totem but belong to different clans. For instance, there are many Shona clans whose totem is Shava and these clans are differentiated by citing the totem together with the praise name. For instance, Shava-Museyamwa, Soko-Murehwa, Shumba-Nyamuziwa and so on.
(c) The Chief – He is referred to as ishe or mambo and he is a living senior member of the clan. He is the guardian of the clan's traditions and customs.
THE REFERENCE OF CLAN PRAISE POETRY
First and foremost the praises of the clan are phrases in
terms of the totem. For instance, the praises of the clans
whose totems are Soko (monkey), Tembo (zebra) and Nzou
(elephant) are characterised by imagery that is directly
implied by these animals. Thus we have such praises as
soko makwiramiti,
mbizi njuma yerenje (zebra, the hornless beast) and
nzou samanyanga.
However, the praises of other clans whose totems are not animals but organs of human beings or animals, such as Moyo and Tsiwo (male genitalia) are differently inspired. The imagery of the Moyo totem is derived from the heart while that of the Tsiwo is allusive of the male genitalia and its field of operation, the female genitalia.
Secondly, clan praises are based on ancestral references; names of forefathers of the clan, their sisters including the names of placed they once lived in and were buried.
Such places record milestones in the history of the clan and remain culturally and historically symbolic to the clan. In short they were part of the clan's non-tangible heritage. Reference to ancestors when thanking someone meant that actually it was his/her lineage that was thanked. The person only represented the clan in extending its good deeds.
| Moyo (heart) |
|
| Shava (eland) |
|
| Shumba (lion) |
|
| Soko (monkey) |
|
| Tembo (zebra) |
|
| Nzou (elephant) |
|
| Dziva (pool) |
|
| Nyati (buffalo) |
|
| Gumbo (leg) |
|
| Mbeva (mouse) |
|
| Tsiwo (male genitalia) | Gushungo |
| Ngara / Nungu (porcupine) |
|
| Nguruve (wild pig) | Makombe |
| Shato (python) | Saunyama |
| Twiza (giraffe) | Nondo |
| Ingwe (leopard) | Simboti |
| Mhara (impala) |
|
| Nhire (spring hare) |
|
| Shiri / Hungwe (fish eagle) |
|
| Hove (fish) |
|