Manhanga Matete: A Rhythmic Mirror Reflects Zimbabwe’s Double Life

By Fanuel Tafadzwa Gondo

HARARE – The beat drops, and an undeniable energy ripples through the room. Whether it’s the packed aisles of a supermarket, a bustling kombi, or a wedding reception, the rhythm is the same—infectious, traditional, and impossible to ignore. A song titled “Manhanga Matete,” which translates to “unripe pumpkins,” has become more than just a dance anthem; it is a cultural phenomenon, a mirror held up to Zimbabwe’s soul, reflecting a truth many have tried to bury: the enduring power of Chivanhu in a seemingly modern society.

The song’s title is a metaphorical nod to ancestral wisdom and traditional knowledge, often hidden or overlooked. Yet, its popularity is not confined to those who openly embrace African traditions. The song has become a staple at events and on playlists of people who, in public, espouse Western religious values or a secular, cosmopolitan lifestyle. This disconnect is where the story of “Manhanga Matete” truly begins.

The duality we see today is a direct legacy of colonial and missionary influences. As the scholar Dr. Rino Zhuwarara observed in his work on Zimbabwean literature, the colonial project “saw our spirituality as a practice that was surface and superficial, that failed to reach and transform the inner person within.” This systematic campaign to dismantle indigenous spiritual systems aimed to sever people’s connection to sacred ancestral sites and traditions. Missionary schools and churches actively demonized traditional practices, equating Chivanhu with savagery and ignorance to accelerate conversion. The result was a generation taught to be ashamed of their heritage, leading to a public suppression of indigenous beliefs.

However, as cultural critic Dr. Tafataona Mahoso has argued, this suppression never fully succeeded. Mahoso’s work often highlights how African spirituality, while attacked, found ways to endure beneath the surface of modern life. A significant number of Zimbabweans, despite identifying with a Christian denomination, also believe in and consult traditional elders for guidance on matters of health, fortune, and family. The use of traditional medicines derived from trees, fruits, and roots remains a widespread practice, even among those who publicly attend Western-style churches. This demonstrates that the public face of modernity often masks a private adherence to tradition.

The “Manhanga Matete” phenomenon goes beyond mere hypocrisy; it points to a deep-seated identity crisis. The song’s true power lies in its poignant lyrics, which offer a subtle yet profound cry for help rooted in traditional cosmology. The line “Manhanga matete todya maruva” (“the pumpkins are unripe and we’re eating flowers”) speaks volumes. It’s a powerful metaphor for a state of suffering and scarcity, where people are forced to consume the immature and unfulfilling, a cry of desperation when the expected harvest has failed. This is followed by the evocative appeal to “Mhondoro Dzemapako” (“Lion Spirits of the Caves”), a direct address to powerful ancestral spirits believed to reside in sacred caves and forests. By calling upon these spiritual guardians, the artist is not merely singing; they are making a spiritual plea, a public lament for a people facing hardship and seeking ancestral intervention.

The song’s widespread success—fueled by social media platforms like TikTok, where dance challenges have gone viral—demonstrates its broad appeal. It has transcended generational divides, drawing in young Zimbabweans who may have grown up with little exposure to traditional rituals but are instinctively connecting with the song’s resonant beat. It is a testament to the idea that some connections are too profound to be erased by cultural indoctrination.

“Manhanga Matete” didn’t ask for permission to enter the national consciousness. It simply arrived, a powerful and honest declaration of cultural identity. It poses a crucial question to a nation grappling with its past and future: How long can people run from their own reflection? The song has become a catalyst for a necessary conversation, a rhythmic call to unlearn the shame and confront the truth of who we are. Perhaps, in dancing to the beat of our ancestors, we are not just celebrating a song but beginning to heal.