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Music of Zambia

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619:, Slap dee, Chef 187 are the very popular artists. A unique hybrid form of Zambian music is found in the so-called "banjo" tradition. The Zambian "banjo" (pronounced 'bahn-jo') is essentially a homemade guitar. A wide variety of such instruments can be found in different sizes and with varying numbers of strings. Most are played using a two or three finger picking style and the tuning of each instrument is unique to that instrument. The body is made in various shapes from wood or sometimes tin cans, and the strings or 'wires' often come from discarded radial tires. Zambian banjos are used in 24: 334: 290: 103: 356:
Traditional Zambian music is rooted in the beliefs and practices of Zambia's various ethnic groups and has suffered some decline in the last three decades. Traditional Zambian music once had clear ritual purposes or was an expression of the social fabric of the culture. Songs were used to teach, to
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is considered one of the best kalindula bands of the past twenty years. Another top artist is Brian Chilala who, together with his band Ngoma Zasu, continues in the electric kalindula tradition. An annual concert of traditional bands (not just kalindula) was recently begun by the Chikuni Radio
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have also contributed to our knowledge of traditional Zambian music. Father Corbeil collected and documented the instrumental tradition of the Bemba in Northeastern Zambia. Frank Wafer, a Jesuit priest located at Chikuni, has collected and preserved Batonga music. A community radio station
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dedicated to promoting Batonga music and culture is also part of the Chikuni Mission Station. They organize an annual festival of Batonga music which attracts as many as 10,000 visitors according to the organizers. Recent ethnomusicological work has been done by native Zambians such as
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The influence of Euro-American hymnody is also evident in the music of many Zambian congregations. Hymns from British and American hymnals continue to be part of the musical fabric of many churches, and many harmonic practices are derived from Western hymn influences. Invented by
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and guitars has also made its way into the church. The flow of influence between church music and the popular realm can also be heard in recordings by groups such as Lumbani Madoda, Zambian Acapella, Lota House and Hosanna Band which has been disbanded.
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ordered that 95% of the music on the radio had to be Zambian. He hoped to encourage the formation of a Zambian national identity. Rather than using their folk roots, however, Zambians attempted to become pop stars. By the mid-1980s, the result was
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Tracey, Hugh. "Kalimba & Kalumbu Songs, Northern Rhodesia Zambia, 1952 & 1957: Lala, Tonga, Lozi, Mbunda, Bemba, Lunda." Historical recordings / by Hugh Tracey. Utrecht, The Netherlands: SWP Records, 1998. Produced and remastered by Michael
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and affiliated bands like Lusaka Radio Band who soon changed their name to The Big Gold Six. Record companies soon formed, with most recordings made at Peter Msungilo's DB Studios in Lusaka, and records pressed in Ndola by the Teal Record Company.
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is one such thumb piano, the Mbunda "kathandi", the Lozi "kangombio", the Lunda "chisanzhi", the Nsenga "kalimba", etc. Although the use of traditional instruments has declined in recent years, they can still be heard in rural areas of Zambia.
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Mapoma, Mwesa Isaiah. "A Glimpse at the Use of Music in Traditional Medicine among the Bantu: A Case of Healing among the Bemba Speaking People of Zambia." Muntu: Revue scientifique et culturelle de CICIBA.8 (1988):
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and not forgetting the Pylot African Sun. Sound clips of each of these groups can be heard at their website (see below). The Zambian entertainment industry recognizes popular musicians such as these at its annual
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African Guitar: Solo Fingerstyle Guitar Music, Composers and Performers of Congo/Zaire, Uganda, Central African Republic, Malawi, Namibia, and Zambia: Audio-Visual Field Recordings, 1966-1993, by Gerhard
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of African music. Tracey recorded all over Zambia in the 1950s, but also specifically recorded in the Zambezi Valley in 1958 at the request of anthropologist Elizabeth Colson before the creation of the
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Tsukada, Kenichi. "Kalindula in Mukanda: The Incorporation of Westernized Music into the Boys' Initiation Rites of the Luvale of Zambia." In: Tradition and Its Future in Music Osaka, Japan: Mita 1991.
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The most successful record label currently operating in Zambia is Romaside entertainment, Sling beats, Blaza, G-sounds, Alpha Entertainment and X.Y.Z Entertainment. Their stable of artists includes
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is struck by a stick. Like many other central African countries, Zambia once had a vibrant tradition of so-called "thumb pianos," each with a different name depending on tribal origins: the Tonga
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was imported into Africa by the British in the nineteenth century. The Heritage Singers Choir, the Heritage Brothers Quartet, and church helped popularise this form of harmonious music worldwide.
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is the generic central Bantu term for drum but Zambian drums come in a variety of sizes, shapes, and purposes and have specific names depending on their tribal origins and functional roles. The
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Ng'andu, Joseph, and Anri Herbst. "Lukwesa Ne Ciwa - the Story of Lukwesa and Iciwa: Musical Storytelling of the Bemba of Zambia." British Journal of Music Education 21.1 (2004): 41.
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The northern, copper-producing area of Zambia was known for singers like John Lushi, William Mapulanga and Stephen Tsotsi Kasumali. Their guitar-based music grew gradually into
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In the 1990s, economic problems caused the collapse of the Zambian music industry. Unfettered by rules promoting Zambian music, the airwaves were covered with imported
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Graham, Ronnie and Simon Kandela Tunkanya. "Evolution and Expression". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.),
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Thomas, Dwight W. "Inyimbo Zyabakristo: The Chitonga Hymnal of the Zambian Brethren in Christ Church." Brethren in Christ History and Life 28.3 (2005): 502-66.
511:, which used mostly English lyrics in rock songs. Bands included the Machine-Gunners and Musi-o-tunya. The most popular band in Zambian history soon emerged, 540: 806:
Mapoma, Mwesa Isaiah. "Survey of Zambian musical instruments: musical instruments of the Lala people of Serenje." Lusaka: Institute for African Studies, 1982
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Mapoma, Mwesa Isaiah. "The Effects of Non-Musical Factors on the Performance of Some Vocal Music of the Bemba of Zambia." Kassel. Bärenreiter, 1981.
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was traditionally played by young men to signal their desire to marry. Called a 'musical bow' by ethnomusicologists because of its bow shape, the
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are played using an interlocking technique with individual musicians each playing a single horn and interlocking with other musicians who have
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Van Dijk, Marcel. "The correlation between instrument and style." Journal of the International Library of African Music (vol. 8, nr. 4), 2010.
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IJzermans, Jan J. "Music and theory of the possession cult leaders in Chibale, Serenje District, Zambia." Ethnomusicology 39(1995)2: 245-274.
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drums have a goblet shape and come in sizes ranging from large to small. One of the most interesting of drums is the so-called "lion drum" (
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are less common in traditional Zambian music but exist nonetheless. The Valley Tonga play instruments made from animal horns called
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Brown, Ernest Douglas. "Drums of Life: Royal Music and Social Life in Western Zambia." PhD diss. U. of Washington, 1984.
1013: 67: 45: 38: 864: 313: 923: 636: 1264: 586:., Slap Dee, Macky 2, Chef 187, joe chibangu, Jay Brown (Son of the most High), hamoba, Ty2, Bobby East, 1028: 361:, its influences can still be heard in many of today's Zambian musical forms. The ubiquitous African " 306: 776:
IJzermans, Jan J. "Amalimba. Music and related dance, text and ritual in one region in Zambia." 2023.
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which is not struck at all but which has a stick inserted through the drum head that is rubbed. The
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has a rich heritage which falls roughly into categories of traditional, popular and Christian music.
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station in Chikuni in the Southern Province. Two of the most popular bands from that festival are
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Baird, Michael. "The Kankobela of the Batonga Vol. 2." Utrecht, The Netherlands: SWP Records 2011.
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Baird, Michael. "The Kankobela of the Batonga Vol. 1." Utrecht, The Netherlands: SWP Records 2008.
700:"Zambush Vol. 2 - Zambian hits from the 60s and 70s." Utrecht, The Netherlands: SWP Records, 2004. 369:
are evident in many different kinds of Zambian music. Contemporary popular forms such as Zambian
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Popular influences can also be heard in the newer repertory, some of which is borrowed from
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also exhibit traces of traditional music in the finger-picking style used by guitarists.
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drums of the Valley Tonga, for example, are used specifically for funeral ceremonies.
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Jones, Arthur Morris. "African Music in Northern Rhodesia and Some Other Places."
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Recordings of traditional Zambian music were made in the mid-twentieth century by
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Baird, Michael "Zambia Roadside 2." Utrecht, The Netherlands: SWP Records 2013.
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After independence in 1964, the most important source of popular music was the
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heal, to appeal to spirits, and for mere enjoyment. Despite the decline of
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Lusaka, Zambia: University of Zambia Institute for African Studies, 1976.
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The Occasional Papers of the Rhodes-Livingstone Museum; New Ser., No. 4
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and Jay Roxer, J.o.b, Stevo, Muzo aka Alfonso, Petersen, Izreal,
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Songs of the Spirits: The Royal Music of the Nkoya of Zambia.
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based their compositions on "Imfukutu" - Bemba folk music.
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Ngoma: An Introduction to Music for Southern Africans.
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World Music, Vol. 1: Africa, Europe and the Middle East
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Traditional Zambian instruments include a variety of
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is a large 17-note xylophone from Western Province.
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Lusaka, Zambia: Mondo Music Corp., 2001. 321: 307: 474:and Jones did his at Mapanza in Zambia's 68:Learn how and when to remove this message 733:Lusaka, Zambia: Mondo Music Corp., 2001. 720:Lusaka, Zambia: Mondo Music Corp., 2004. 707:Lusaka, Zambia: Mondo Music Corp., 1999. 332: 31:This article includes a list of general 1347: 847: 594:, Danny, Shatel, Black Muntu, pilato, 912: 744:Corsicana, Tex.: Paradox Music, 1993. 501:Zambia National Broadcasting Service 351: 137:Federation of Rhodesia and Nyasaland 17: 938: 713:Tivloi, N.Y.: Original Music, 1982. 13: 757: 626: 37:it lacks sufficient corresponding 14: 1366: 1333: 1239:Sahrawi Arab Democratic Republic 1009:Democratic Republic of the Congo 494: 288: 101: 22: 556:. In addition, artists such as 887: 856: 841: 378: 337:A musician performs in Zambia. 1: 834: 670: 522:In the late 1970s, President 637:contemporary Christian music 142:Monuments and historic sites 7: 848:Mensah, Atta Anna. (1971). 731:Shoprite Zambia Hit Parade. 531:music. Bands included the 10: 1371: 685:Batonga Across the Waters. 663: 558:Alfred Chisala Kalusha Jr. 478:. Catholic missionaries, 1252: 1227: 946: 863:Catherine Schmidt-Jones. 850:Music and dance in Zambia 666:List of Zambian musicians 660:List of Zambian Musicians 633:urban contemporary gospel 623:bands throughout Zambia. 994:Central African Republic 579:from the United States. 823:London: Longmans, 1948. 635:, some from so-called " 52:more precise citations. 1340:Zambian Music Industry 716:Hosanna Gospel Band. 338: 1154:SĂŁo TomĂ© and PrĂ­ncipe 1014:Republic of the Congo 778:https://amalimba.org/ 336: 541:Junior Mulemena Boys 245:World Heritage Sites 1229:States with limited 554:Mashombe Blue Jeans 489:Mwesa Isaiah Mapoma 463:Arthur Morris Jones 899:2007-09-29 at the 740:Zambian Acapella. 467:ethnomusicologists 465:, both well-known 339: 1330: 1329: 1256:other territories 1029:Equatorial Guinea 742:Zambian Acapella. 571:from Jamaica and 537:Serenje Kalindula 476:Southern Province 363:call-and-response 359:traditional music 352:Traditional Music 331: 330: 295:Zambia portal 147:Northern Rhodesia 124:History of Zambia 94:Culture of Zambia 78: 77: 70: 1362: 1317: 1316:(United Kingdom) 1312:Tristan da Cunha 1308:Ascension Island 1300: 1287: 1278: 1254:Dependencies and 947:Sovereign states 940:Music of Africa 933: 926: 919: 910: 909: 903: 891: 885: 884: 882: 880: 871:. 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