Now you see me!

Words by Alex Gwaze (Curator)
Questions by Alex Gwaze and Zaza Muchemwa (Director & Writer)

In the Creative Arts industry there are a lot of places to hide. Backstage, behinds the camera, behind the scenes, behind the computer, in the classroom, and so forth. It’s easy to go unnoticed in such places if you don’t want to be seen. From writers to make-up artists, editors, guitarists and more, I’ve met a lot of selfless, talented people in these hidden spaces – who I wish would have their 15 minutes of fame or at least “get their flowers”. We have this tendency to only acknowledge the lead singer or main actor because they take centre stage, do all the interviews, and get their picture taken. But we are only seeing a small part of the real work.

Recently I got to talk to someone who started her career somewhere the background. Mary Anibal is an award winning Singer / Songwriter, Music Instructor and Session Artist. She won the best Traditional Act award at the Zimbabwean Music Awards (ZIMA) and she has a Diploma in Music from the Music Crossroads Academy -Zimbabwe. In addition, she has done backing vocals for some of Zimbabwe’s biggest acts, namely, Allan Chimbetu, Matthias Mhere and Mafriq. She is also a member of Jah Prayzah’s “Third Generation” band (3G) and she was one of the lead vocalists for “Wenyombwe Band” (which won the Imagine International Competition in the Netherlands). Furthermore, she arranged the music for “The Unveiled”, the runner-up group at Old Mutual Amazing Voices Africa. However, it’s her mastery of the Mbira – in particular her ability to fuse it’s sound (and her own vocals) into multiple genres – that has made her not only a sought after Session Artist, but one of Zimbabwe’s most seasoned rising stars.

Mary’s debut single, “Bhonzo Muderere” has been listed in several World Music playlists and she has shared the stage with Rocqui, Soa Roy, Rutendo Jackie, Forest Jam, Ishan and more. We caught up with her to find out what’s it like stepping out of the shadows and into the spotlight – full time.

ZM: You started out as a backing vocalist for Josphat Somanje, Josh Meck,Trust Samende’s Kulcha Houz and more. Tell us about that – most new acts want to be stars right now, and don’t wanna be in background.

MA: You know, growing up I was a really shy person. So starting out in the background really helped me to have confidence to believe in myself and to have high self-esteem. I believe in first understanding your craft, researching, understanding your stage presentation, and learning how to communicate with the audience. Yeah, I admit some people don’t learn through this process, but I believe starting off in the background has helped me to have the confidence that I now have to stand in front of huge audiences. The lessons I have learnt as a backing vocalist are: number one is growth takes time and number two – experience breeds quality.

AG: What was that moment when you felt you had to step out the shadows. When you knew had some of your own songs in you. What inspired you to “run your race” as you once put it?

MA: Well, I’ve been writing songs since high school. So I remember, you know, like, having a fire burning in me and knowing I needed to do something because I am really passionate about it (music). So I wrote the song, ‘Bhonzo Muderere’. I was like, “I really have to write this”. It was a song that came from my personal experiences. You know, there’s a moment when you procrastinate on doing something and then it kinda haunts you. When you wake up, you think about that thing. When you close your eyes to go to bed, to sleep, you think about that thing. So finally, one day I just picked up my phone and called, Trust Samende, my producer, and told him I had a song. He was like, “Are you sure you want to do this?” and I was like, “Yes, I’m really sure I want to do this”. Cause back then he knew me as a backing vocalist. He then asked me to send him a demo and he started working on the song and boom, here we are!

ZM: You are known as an Afrofusion artist who also plays the Mbira. I read that Mr Lindsay Mhlanga not only inspired you to learn the Mbira but also taught you how to play it. What is it about the Mbira that speaks to you (musically, in life or otherwise)?

MA: Mbira is life! It goes beyond just a feeling. It’s the only music where I feel free and see God’s purpose for me through it. I manage to absorb life issues and lessons and naturally find myself navigating towards solutions and hopes that the listener needs to hear. Feelings easily fade and expire, but I know for a fact that I was born to incorporate Mbira music into everything I do. That helps me strive for excellence in the genre. I think Mbira is taken for granted by a lot of people. I am honoured to be a steward of this ancient instrument and look forward to where it will take me.

AG: Learning an instrument like the Mbira is hard. You’ve taught over 150 students at Music Crossroads Zimbabwe, not just the Mbira but also vocals and the guitar. I’d like to know, how do you deal with a student who is just not getting it?

MA: Number one – patience is the key to getting a student to understand because students are always different. So you have to know what kind of student you’re teaching. Whether it’s Mbira or vocals, you just have to be patient. And some of them actually need encouragement, hey. Others just need to be assessed to see if they understand what you are teaching. Students learn in different ways. So with some, I use life lessons yet with others I use tangible examples so that they grasp what I’m trying to teach them because I was also a student once and I understand how difficult it is to understand things.

ZM: I don’t know if you are familiar with the saying,“those who can’t teach”. Meaning most people who become teachers failed to be successful using their creative talents. What are your thoughts on that?

MA: There are so many teachers out there who are making it in the music field and other creative disciplines. I believe you should always level up. Be it increasing the knowledge of your particular profession or your skills set. It’s important because kudzidza hakuperi. And you should always strive to upgrade yourself never settle for less. So if some did it or are doing it why can’t you – you really need to know how to place yourself in the market. Your life purpose and your goals are yours –  you can always juggle teaching and performing.

AG: A lot of artists don’t believe you need to go to school. As a teacher (and someone has worked with people that didn’t go to school), what would be the major reason to go school for any artist?

MA: Well, you will need knowledge because knowledge is always the key to success. I also understand that not everyone has the opportunity to receive the education they need. We don’t know it all, but you’ll find out that there’s a difference between someone who’s learned and someone who’s not. A person who is educated can demonstrate analytical reasoning and creative adaptation. You might have the talent, yet you don’t have the knowledge of how can explain a simple concept you’re trying to communicate. So both established and upcoming artists should really try to seek knowledge – be it asking for help from fellow colleagues, researching on the internet etc. Kudzidza hakuperi sezvandambo taura. You know what they say hey, “If you think education is expensive, try ignorance”.

AG: One thing I am interested in learning from you or at least finding out more about is musical arrangement. You were the music arranger for “The Unveiled”. I won’t lie, most new Zim artists could use some arrangement.

MA: Wow! Working on the arrangement for “The Unveiled” was quite an experience. It put me under pressure and taught me to think very fast and adapt. Music arrangement is very important because it really plays a pivotal role in structuring a song. It’s more like you are rewriting a piece of music to make it your own – reorganizing it in a unique way. So it’s like the backbone to the song because when you’re rearranging the lyrics, the intro, chorus, the verse, the outro and everything that’s following – the band is going to ride on top of the skeleton of your arrangement. It is very important because it brings out the uniqueness of a song. And even if it’s a boring song, if you rearrange it in a nice way it becomes memorable to everyone. Music arrangement adds colour to a song. That’s why you see some people preferring to sing their own rendition of a particular song rather than the original.

AG: You once said “funding is the main challenge when you’re an upcoming musician”. Money is always a problem. So how do to keep yourself busy and not lose your passion for the art while you are waiting for that bag?

MA: I have side hustles which I’d rather not disclose at this point. But I can tell you that I’m an artist and I do session work for different artists. That’s how I earn my living. I also teach music. So, that’s where I get most of my income.

ZM: You’ve performed at several festivals and shared the stage with artists like Roki, Soa Roy, Forest Jam, Rutendo Jackie and more. So you are veteran of the stage. I would really like to know, how do deal with making mistakes during a live show?

MA: Mistakes always happen. Number one, you don’t have to show that you just made a mistake. Number two, some mistakes end up becoming good mistakes. So you just have to keep the confidence. You just have to keep the show going. So if you make a mistake, keep your confidence. Laugh it off or just find something to do so that you don’t get distracted. But be honest with yourself, mistakes do happen on stage. They happen a lot and big artists make them too, kakawanda! But you don’t notice it because they remain very confident. They might actually do something fun like dance or wave or make different gestures that help them cover up for their mistakes while entertaining you (laughs).

ZM: Last question, you’re a veteran performer but people are still getting to know you as a solo artist. So as an up-and-coming artist who sings, teaches and plays several instruments (before the critics box you in) – how would you describe your music?

MA: (laughs). You want me to define my own box. Well, music is my world so let’s say my music is world music – afro-fusion. But it’s also traditional  but fused with modern instruments. So it’s also urban (laughs). In other words it’s my music to the world.

Follow Mary Anibal at: @mary_ani_bal
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