MUTARE-BASED Lino Piloto worked in a music recording studio as an engineer for a while during his short stint in Mzansi and not much was known about him until he offered to provide backing vocals.
He was advised to learn mbira music, of which by then, around early 2000s, there was very little mbira music on the airwaves.
Over the years, Piloto has built a strong name for himself through teaching and training mbira, building, manufacturing and playing mbira music instruments.
During this month of September, which is the Mbira Month in Zimbabwe, Piloto and his Ntswai Ntswai Arts gave a sterling mbira music performance at the recently held Hlanganani/Sanganai Expo in Mutare, which left many calling for more.
NewsDay Life & Style engaged Piloto, who is the director and co-founder of Ntswai Ntswai Arts.
“I was inspired by the need to create my own employment and that of fellow youth through the arts,” he said.
“As we speak, I have made a lot of impact in my community and Mutare at large through teaching and training mbira music.
“When I am not teaching, I manufacture mbiras and above all we carry out performances as Ntswai Ntswai Arts.”
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Tangible cultural heritage such as the mbira is a critical part of Zimbabwe’s identity and history, reflecting generations of indigenous knowledge, spirituality and artistic expression.
As a traditional instrument with deep roots in spiritual ceremonies and storytelling, the mbira instrument represents more than music as it embodies the soul of a people.
The United Nations Educational, Scientific and Cultural Organisation underscores the importance of preserving such cultural heritages, recognising them as pillars of cultural diversity and sustainable development.
The UN encourages safeguarding traditional instruments like the mbira to ensure their continuity for future generations and to promote cultural understanding globally.
“Learning how to tune the mbira instrument is very important. I use both traditional and modernised methods of teaching and training mbira. It is still very difficult to teach and train mbira as some parents, if not many of them, still associate the instrument with traditional ancestral worship and evil spirits,” Piloto said.
“It needs a robust approach to make people understand how important this Zimbabwe traditional music arts and culture is to us.
“Yes Zimfest America is doing a lot and we need such here in Zimbabwe so that we preserve, promote, inspire and celebrate our traditional music arts and culture.”
Cultural exchange programmes like Piloto’s participation at the Hlanganani/Sanganai Expo and Zimfest America play a vital role in promoting global cultural appreciation and mutual respect.
These platforms allow artists to share indigenous knowledge and skills with wider audiences, fostering dialogue, tourism and intercultural learning.
They help to demystify traditional instruments like mbira and counteract stereotypes, especially those that deem African cultural expressions as backward or evil.
By showcasing Zimbabwe’s rich musical heritage on international stages, such programmes elevate local culture, build networks and encourage cultural pride among younger generations.
Among Piloto’s greatest inspirations are legends like the late Dumisani Maraire, Mbuya Stella Chiweshe, Mbira Dzenharira and Thomas Mapfumo.
With plans to establish the Ntswai Ntswai Arts Centre to exhibit diverse art forms, Piloto continues to influence the cultural landscape of Zimbabwe.
His impact is especially notable in education, where he uses digital platforms and global teaching methods to connect students with mbira.
Despite challenges like societal misconceptions about traditional music, Piloto remains a strong advocate for its value, recognising the power of globalisation and digital media to elevate Zimbabwean culture on the world stage.
