AS Zimbabwe commemorates 46 years of independence, the country’s cultural tapestry remains one of its most enduring pillars woven through rhythm, language and memory.
In the quiet persistence of community-led initiatives, organisations such as Chiyubunuzyo Arts Culture Association (CACA) are ensuring that heritage is not only preserved, but lived.
Founded and directed by Brian Kembo Mudenda, CACA is rooted in the revival and promotion of Tonga cultural expression, particularly dance, music and language.
Speaking to NewsDay Life & Style, Mudenda reflected on a journey inspired by identity and belonging.
“The uniqueness of Tonga cultural practice, identity, love and unity inspired me,” he said, tracing his path into the world of traditional dance and cultural advocacy.
At the heart of CACA’s work are performances of traditional Tonga dances such as buntibe and mankutu, alongside the resonant sounds of kankobela music.
These art forms, deeply embedded in Tonga heritage, serve as both creative expressions and cultural archives.
“We perform buntibe and mankutu Tonga dances, and kankobela music,” Mudenda explained, underscoring the group’s commitment to authenticity.
Yet the preservation of tradition comes with its own challenges.
With limited access to formal training institutions, practitioners often rely on inherited knowledge systems.
“We rely on original knowledge and talent due to limited training capacity,” he noted.
Despite these constraints, participation in national events has provided a platform for visibility and cultural exchange.
Mudenda says such opportunities are vital in promoting not only dance, but also the Tonga language itself.
“Participating in national events promotes Tonga cultural practice, creativity, dance and language,” he said.
For Mudenda, independence is more than a national milestone; instead, it is a call to unity and cultural pride.
“Independence reminds us of our heroes who fought for freedom; we should unite and showcase our culture,” he reflected.
Over the years, Zimbabwe’s dance landscape has evolved, influenced by policy shifts and changing social dynamics.
Mudenda observed that legislative frameworks have begun to recognise the importance of cultural preservation.
“Dance has changed gradually, with constitutional amendments supporting cultural policy,” he said.
However, the sector continues to face structural challenges.
Limited funding, restricted access to platforms and scarcity of traditional materials hinder growth.
“There is lack of financial support, inadequate access to events, and scarce resources such as animal skins,” Mudenda explained.
While CACA is yet to step onto the international stage, its ambitions extend beyond borders.
Mudenda envisioned a future anchored in collaboration and infrastructure development.
“Cultural exchange can grow through collaboration, funding and building cultural centres,” he said.
Beyond performance, dance remains a powerful storytelling medium and a living language of movement.
“Dance conveys messages and tells stories.”
Looking ahead, Mudenda’s aspirations are expansive: from producing Tonga dramas and documentaries to publishing books and films, all while advocating for the inclusion of Tonga language and culture in education and governance.
“We want to promote Tonga language and culture in schools and government sectors,” he said.
Subsequently, as Zimbabwe reflects on its independence journey, the promotion of indigenous languages such as Tonga stands as a vital pillar of cultural sovereignty.
Language carries memory, worldview and identity in addition initiatives like CACA, play a critical role in safeguarding these intangible assets.
Elevating local languages within education systems, media and public institutions not only fosters inclusivity but also strengthens national unity through diversity.