A Conversation with .... Matchume Zango

A Conversation with .... Matchume Zango

Title: A Conversation with .... Matchume Zango
YouTube playlist: A Conversation with ...
Date: July 28, 2025
Language: English
has URL: https://www.youtube.com/watch?v=LxJ3McHwTdo
Transcript: Hello Mum, it's a real pleasure to have you in Brod again. Um, and maybe few people know your full name and also I think little or just certain things about your professional career. Everybody knows you are the Tempula player from uh from Mozambique, but you're also doing a lot of other things. So, it would be really a pleasure to learn more about your professional career. Yeah, thank you for inviting me. Um, I always feel home to be back to university and working with cluster. And my name, my official name, uh, from the school or from my IDs, it's Gandido Salomo Zango. But my traditional name, not it's not artist name. It's just a normal name. It's Machu Zango. Why is Machu Zango? because mach was the grandfather of my mother. So this is like kind of um uh in Africa we have this kind of culture heritage names. So then we keep this traditional name. So mach comes from the family and also if you there's a meaning of mach >> when you say when we count in our traditional language when we say So when you say ch means 10. >> Mhm. >> When you say mach means many tens. >> Okay. >> And um people they use also asking why your your name it means zango. In fact it's not zango. It's in zango. >> But since the push case they didn't have zango. They took out the N and then we just stay with Zango. But >> Zango, it's a female name from the community where I come from in Inyan. >> The area is calling in Zanguin. >> So everyone that is born in that area get the the the name has a get the name of that area. >> So I'm Mum Zango because my parents are from this area. So that's how my name >> came out and um as my music background I growing up playing uh Timila because my parents they were Timila's players from old generations from my grandfather generations and then my father um immigrate to Maputo but even like that they came with the music in uh >> in Maputo. So they were not living in the city but staying on the suburbs. So there was some other families choppy families around. So then they will come together and play in the during the afternoon times after the work time. So that was a kind of a way of um interact with them because on my I was born in 19 1998. I was born you know so it was not uh Mozambi was not like um well um developed at that time. We are growing up with no electricity and uh basic we had a kind of base uh environment that we could deal with it you know and culture was one of our education program you know so since our parents they were doing music and uh dancing so we had a chance to learn >> so we didn't have like people to teach us it was kind of um a way of living and we could learn just like that. So >> then I myself before playing I was dancing cuz all the kids used to dance before starting to play and then somehow I was involving on music. >> Yeah. So I used to dance and then play. By the age of 17, I decide to stop dancing and then I just keep myself on music and learning not just the chop music. That's what I belong the chop music but um I was also interested on learning other different music from other places in Mozambique. Mozambique has is quite bigger you know and um so I had a friend from north of Mozambique friend from the central central of Mozambique so we used to come together and then play singing and there also in Maputo the Shangana people so all this language also they were like a part of a way of coming together and then speaking Portuguese was not something that we really spoke at Um we had a more uh choppy uh and then shangana that was the most popular language that in the group people young people they were speaking and then Portuguese was just for the school. So since there was so many mixing of different ethnos to learn other language from north by singing you know so I would say that I was so like from that generation to to have those kind of access you know and >> that time there was not so much digital things like internet >> we didn't have phones you know it was everything's on the a basic as I said it was very basic way to deal with it but >> somehow we are so happy with that you know because >> it's like when you're born with a little things you have to deal with it and then from there you learn you're developing your mind >> and today it's I can see the difference of the new generations that are born now and then from us that we born like from 1980s maybe also for your generations from that time so that's another story >> yeah each generation is it's changing, you know. Yeah. So, it's the same like me. Yeah. >> Mhm. But then Okay. But you you are professional Timbila player. >> Yeah. >> Maybe you can say a little bit more about Timila because if I remember well, you you also did once a documentary on your master and this is very much linked also to to the shopppee culture. Maybe you can say a little bit more about that. Yes, I can I can explain a little bit about who are the choppy people. >> In fact, the choppy people it's mixing of different ethne from South Africa, from Zimbabwe, uh from uh uh Malawi, you know, it's like what they call the the people >> Mhm. >> people against the system of the imperials. So they had run away from those systems and they immigrate to to Inyamban because by the sea cuz they could have the sea and fishing and then agriculturing and they have also them way of um living with the with the traditional rituals. So why this name Chop came? It's because since they were staying by the sea, the Shangana people wanted to have that land. So the chop they had to defend themsel >> to not lose the land, you know, because the fightings from that time was the land. So then they had kind of arco. >> Mhm. >> With I don't know in English, but >> yeah. How do you call this again? The fleshing the Frenches. Um Yeah. >> Yeah. to defending them for the fighting. So by the time they they were like manipulating the the the flesh this went like straight and then the shanganas would be like oh those people are the chopper people you know the chop >> so the name stays like that you know >> okay >> but um and then the chop music used to be kind of music that they use the timila's music for for ceremonies and also was kind of political intervention music. Mhm. >> Uh if they don't like what happens on the village, if uh the chief of the village is doing some mistakes and um so they will use the music to to express what's not right. And then also uh the composers they were like different composers with different style you know. So each composers maybe from different village will talk about what happens on his village and then they will come together and play and singing >> and some of course for people they don't understand the lyrics they listen good music and dancing but inside of this music the message is very strong you know >> so I myself had access of those masters before Um because I knew them I knew some of them before before they came back from South Africa because what happens is that during the civil war uh there was no Tima music anymore >> in Mozambique and uh this when I was born the civil war was there already. So we are I was listen this music from the tapes that time was like you could listen from the tape and um most of the timila players they immigrate to South Africa to the platin mine to work on the on the mine gold mine. So most of this music was um has been here because those masters immigrated to South Africa and uh from from there 1992 the civil war was declared. So some of them came back then people like Vanas example and then more other timas came back and then we went to visit them in the countryside. So they were telling us a lot of stories how was before uh civil war how they used to live and then >> even during the civil war how they struggle to came back home to see the families you know and so many people died the during the civil war but the music was still kind of a way of express even this painting of the of the civil war. So the message the other composers they were writing in South Africa about negative uh the impact that civil war had in a in a in a community >> and um we had access because uh there was kind of network between Mozambi with South Africa and then some some other timila players they will come to Maputo for performing. So we will see those ones and then we will try to imitate and then also having access of not making tim but the way how they fix it and they will tell us so many stories about that and um since my family also coming from the chop chop Timila's family so it was easy even if we are not on that time >> or or the time was civil war in the countryside but in mur There was still some timila players that came from mo from inyamb >> because immigration looking for the better condition and one of these family also it's my family know. So that's kind of my background for where I was starting to play the bill. >> Mhm. >> Yeah. >> A long way to come. >> Yeah. Yeah, >> but if I um I think you once also told me that you had also workshops with young people in the neighborhood um building instruments and then there's not only the tambila but other instruments. Um maybe you could now talk a little bit about that. Yeah, we had we I had this idea of um of making kind of orchestra amadores in the comm in the in the in the suburbs because what happens is that our music or our culture system um like the minister I will say like that >> ministry of culture. >> Yeah. It's I think it's so difficult for them to um to organize these kind of uh uh music programs for the communities. >> It it to build structures. >> Yes. I think it's really difficult and even on my time the way how I was learning it's because I had access. So why I decide to do the this program of ores? It's because I went to north of Mozambique to um Ilad Mambique. It's island. >> Mhm. >> And then I saw young young um young people there uh selling selling um uh this kind of artisanal things for the tourists, you know. Mhm. >> And for me was a little bit wow seeing them just wake up and selling this not learning any music and then this island is so developed. It's so rich on music. I get that feeling of I should do my contribution. Then when I came to Maputo I had a kind of meeting with the embassy of uh Holland. um that time because they were doing something in in north of Mozambique for fora they were like sponsoring some programs for culture there but didn't work and then the place where also I was born the young people I saw drinking alcohol so I still kind of lost generation like I need to do something and then >> there was a kind of um calling from the Spain Spain corporation for whatever it's culture. So then I wrote a project for three village. So to teach like 50 young people how to play, how to make drums, how how to fix, you know, how about composition. So then >> they help us. Uh that time I had a sound cultural because I was not uh I didn't have my my music residency that I'm running now. So I could build this 150 young people's in three weeks >> and um yeah it was it was so good because there were all of them involving on on a construction and so motivating and so inspired about the project and right now they all growing up so I can see of course not all of them they manage to stay on music cuz 50 there are so many. So but I think around 50 they made it. Now there are some are traveling and playing and sometime we talk they ask me about um some questions about music or my experience and we we we exchange I help them. I knew that I will not >> keep 150 >> but maybe 50 I will have like kind of 50 young people. Yeah. >> So training and coaching actually the younger. >> Yes. >> Quite a large group. >> Yeah. Some some of them they have a their own bands and some are like also video makers now and photographer studios recording. >> So I'm very happy that the project ended. But that was also the reason why we created this orchestra Zamador project. >> Yeah. Mumi, you just mentioned also the association. Um maybe you can also say a little bit more because not everybody knows this association. >> Yeah. So we we I have we I and my friends we create a band called Timila Muza. But since we we are just a band sometime we struggle to get found because they said this is just a group we need association. So then we create the association cultural. The members of the associations are also the members of the Tim Mima band >> and um so this is more like a group association and um you know working with different people with different mindset sometime we don't have the same uh way of thinking or ideas and somehow it was a little bit difficult I mean I've been working with the association for many Yes. >> For quite some time. >> Yes. Yeah. Yeah. I did. We did a lot of things together and then I'm still working with the band. But um uh I decide to create a music residency >> uh the space it exist in Mata. The idea why it's because my experience of traveling in the in the world. I have been on many different residency here in Germany in in in France in Norway in um United State everywhere that I was going. and inspired me like it's nice to have music residency then you can invite your friends to come and it's so difficult to to to not have the space with the condition because then sometime you don't get well not I'm not talking about well paid but maybe the the the money that you get is not so much and if you have to spend with hotels and >> um um transportations renting studios it gets to the artist after they don't have money. So our place we call Zango artist residency. It was founded in 2000 2006. That's the time I bought the land. And u you know it's also very funny stories that I build it by myself not because someone helped me with the money to make this place because it's difficult to go to sponsor and then said I want to build music residency. I don't think they will understand what that that mean. So the only way I could build that place is to travel and play and then save the money and then giving the money to the guys in Maputo to make the space uh vibrating and uh >> you know creating new ideas studios uh I know after the space the space was there and then I created the website and explain what's going to happen >> then it um it has been attract different sponsoring like from Switzerland >> and uh Switzerland I remember and music in Africa the god in institutes and um >> now we work a lot with funian in Portugal >> because when you have the physical space and then also the see the routines of what you do >> the people takes you serious >> and that was my idea said okay I will invest later I'm sure people will understand that we are just want to do our contribution about culture in Mozambi and we are we are independent organization >> and um there were the and we also connected with different residencies in in in Africa. So sometime we have this kind of meetings where all the independence residencies meeting in one place and everyone sharing his experience and for me I'm so glad that we have that place because when artist get maybe found they contact us and then we help them for the production. >> Mhm. and they don't spend like a lot with the accommodations with the studios and then we have all the tools there like for recording music and filming. >> Uh right now we are also expanding the space to have a place for dance that >> that sounds nice. >> Yeah. that people can because we just had the music and >> and the videos and kind of painting but we didn't have a big space for dance and um also if people they don't want to do like some high life recordings that is not just a studio like recording in multiplica but that can all the band play and also to to open space for the community. So the new space will be also for the community because since we are not in the city, we are outside of the the city. So communities can see the movements what what's going on there. But they don't have access >> because it's not like a place for the concert. It's just a create creative place or vi vibrating space. >> And now we're going to have the new space uh for the community. they can come and learn how to play or the kids from the area uh can come for the workshops where we'll have like a little bar. We will see what's coming and but the idea is also to open for the community to access community to come and and then develop uh uh culture in that place. Yeah. >> So we still thinking if this will be like a foundation or we keep the same name of Zango artist residency. We are like >> okay. >> Yeah. Because sometimes >> open for new formats. >> Yes. Yeah. We try to get more people involving to that can give some ideas what to do. Yeah. Because since Dango artist is there and it's operating very well but now we would like to standing for to involing more community. >> Yeah. >> I mean I had a chance to visit your your space which was really impressive. I mean beautiful space and also gives offering a lot of a lot of possibilities for for artists and other people. Um but besides all I mean besides your work as a musician and engaging in teaching and bringing people together I know that you also uh studied in Cape Town. >> Yeah. >> I think this is not I mean nobody really talks about that but I think this was also a very important step. >> Yeah. I mean the my uh my um coming together with the university in Cape Town. It started because we were we were doing a tour in in South Africa and this tour was sponsoring by Prol. It's a Swiss aent that is working in Johannesburg. So it was some artist from Swiss and then some from South Africa and then some artists from Mozambique. Then we came together, we create project in Mozambique and then we went to EA in Zimbabwe. We play then we played also in Maput and then in the end we went to Cape Town to play uh in Cape Town. I think was jazz first something like that. But then they also have um uh this um social programs where we have to do a lecture. >> Mhm. >> In universities and then they're offering us to go to universities and in at university in cap University of Cape. They have a college of music. >> Mhm. >> And they have African music department. Mhm. >> So then since I'm I'm at player I went there for doing a lecture at um it was lecture not for like has a class but they have a day all the classes coming together for African music. So the director he just saw me there. He I didn't know him. He didn't know me and then we somehow he really like it the way how I was um um doing the lecture and then he said oh we we need to talk then they took my emails after 3 months they asked me to go for for residency not just to be there as that day that I was there for long period and then they have this African music program. So I was there for 3 months. Then I was teaching and building concerts with the students and after the residency was finished I came back home and then it was I think it was like holiday for the students. They had to make a break for the second semester. So when the students came most of them they didn't know what was going on you they said where is mach oh but mach is not coming back and so they're like no but now we what what we going to what we going to do because we've been >> working with him and we like him so much and then we the universities of offering me the postgraduate first said okay >> you come here as a student for like two years >> and then you keep teaching and then we also sharing our what can we help you you know so I had to do some exams and >> and then after the postgraduate I said okay it was done for me they said no now we want you to do a master so I ended up staying there five years in in in the university but we had a great time you know we took we really took our up the African music to an other level >> because for my experience Uh I think African music still something that is not like when you go to the universities I know there's so much theoric programs >> but I was taking more like practical programs to to to UCD and um also some some of the students they have really beautiful knowledge of of them traditional. So I was using this material and building them to show a new way of making uh them art. So with my experience and um they still asking me to go back and do like domin >> Yes. But >> that's a good invitation. >> Yeah. But I don't know. I I I'm still playing a lot and I it needs more time and more. >> It needs some time. >> Yes. Yeah. So uh but I'm not talking a lot about my mastering because I said it's okay. It was something that find me on my way on my road >> and it was so something that I was not expected to have it. So, but I appreciate that I have this degree and if one day I'm tired of traveling and touring, maybe I can lock a door of one university. Look, I have this diploma. Can you open the door? >> And also to give maybe some teach some lessons at University of >> Yeah, something like that would be perfect. And since now I move with my family to to Germany. >> Who knows? Maybe one day we we we come we come together. >> Yeah. Um that that might be a good moment now to to to talk OC sorry to to talk as well a little bit about um I mean you being here you have you have been here several times and concerts um of course and always fantastic concerts in in Broid but you have also been involved in giving workshops at local schools. >> Yeah. So it would be interesting to learn a bit more about your experience uh teaching at schools. Yes. I mean most of the workshops that we did here um it was with uh local students and then some refugees uh students coming from Syria I think was Syria and uh and my experience was always good with them because when it comes to the music it's kind of universe of it's like a box of everyone we and I think music helps helps young kids to cool them down, you know, cuz some each kids has different background from from the families and since they see one instrument and movement something that you teach it makes them more appreciating themsel and this is what we need in our time you know because >> there's so much going on we don't know I think we lost um we lost the hope in different place. Even if those kids are like a victim of of war, but they have a heart, they have a feeling, they have a dreams. So when we bring this kind of workshops or when when when we there with them and dancing singing you can see like the big smiling in the face and uh I I think when they go home they ask uh the parents like wow or the parents asking them what what was your day and this could be something new for the family to talk about a different experience you know because >> maybe I imagine those kids when they wake like oh do you know what happens at home in Syria or do you know what happens at home in Ukrainia and uh if they come to the classes like what we've been doing and those workshops it's changing the mood you know and you can talk about different things about Africa also like oh we had mach from Africa with this timilas and his and so it helps to heal this difficult that we are we are in the in the right now in the moment. Yeah. >> So that's the impact I see more when we go and >> and I mean I'm not just talking about the Syrians and the Ukrainians kids know but even the German kids also you know they they enjoy they enjoy a lot and we we try to make it as one not as a separating individual. We we make it as one and we some nice questions coming out from the kids and uh yeah a lot of good moments that we we're spending together. So that's my experience with the kids and I I also love to to teach kids because more you teach kids it's like you find yourself how to adapt for this energy. Yeah. >> I think it's a dream of all of us to become kids again but it's too late. It's too late. Okay. >> Yeah. >> But what I saw also some because sometimes I could accompany you to the workshops. Um because you I mean usually they don't speak Portuguese. Uh sometimes you don't even need the language because it's just about I'm just it's not just but uh repeating things and learning by doing. But at the same time I think some of them were also fascinated that finally they could use English something that they learned at school and they didn't really know why. >> Yeah. I know suddenly this could really serve uh I mean like really on purpose no you can you can use it in your daily life. Yeah, I I think I think that's how I growing up, you know. It's because I had all this access of people around me with different knowledge >> and more knowledge you get, you're growing up even on the set mind, you know, it's not the same has been in your phone or TV uh you know because then you are like controlled by machine but then when it's more physical there's a different energy. Some kids are a little bit difficult but that's human being but >> somehow >> yeah because you're right some they didn't even speak my language I didn't even speak them language but somehow with the music with the >> the the the ambience the environment that we have been it's changing all of us after five minutes like we know each other from five years >> that's nice maybe we can just uh yeah coming to an But talk a little bit about um we had the concert that brought you also here. I mean besides others but there were two concerts uh and this the last one was uh now in July >> uh 25. >> Um bringing together you and another musician from Mozambique. Um another one from Madagascar and the fourth from South Korea. >> Um yeah maybe you can just talk a little bit about that experience. um the encounter of different music worlds. I think I think this kind of reunion of artist is something that they're growing up on this kind of environment collaborating learning >> and uh it's not just music you know we talk about >> um before we play each one can talk about um uh what his songs talking about and >> you find out that all all of us we have the same problems you know like uh political problems, political intervention problems and uh um in Mozambique right now things are not going well. So in my mindset, my compositions they are talking about other different things and then I I I my friend Chang from South Korea also political problems you know so then >> it's like we are making music but the mindset is the same you know and It's so so beautiful to see that no one is is is up than hierarchies. >> Yeah. Yeah. We all in the same mindset but coming from different culture and when we make the music you can feel that how much we engage ourself on on those compositions that we are making since we understand what's going on and u and we we always say we wish music could bring is the only things that can connect people because it doesn't mean that if you're not speaking choppy or I don't speak the South Korea or I don't speak the English or we out we music is more like healing ourself. So those kind of reunion they are so important in our day because it's kind it's like bringing us together for one reason >> and there's a problems also also of the climate change. So those songs that we doing those this kind of music we're doing we can also talk about those subject you know. So maybe we are not on the studio sitting outside. >> So I will talk about my situations in Mozambi. The next person will talk about his situation in Madagascar the poverty. So it's not just music you know there's a kind of uh informations that we giving to each other that I maybe I don't know from South Korea or he doesn't know from Mozambique and it's like wow these things happens in Mozambique and wow these things happen Korea and motherashka >> so it looks like music program but behind there's so much because we are human being yeah so I really appreciate that kind of meetings on my point of view and these people also So I know uh they are very interested people that they know what they are talking about. >> Uh people like Tao Child and Chang. It's people that I know them very well. So when we come together we know guys this is the only moment to make us happy you know. So let's get happy and enjoying our time >> and expired other people. Like when we came to play at Opera's house, we had a different setup and then now when we play at Afro Kalib Festival, you you know people they were reacting and some people like why you don't have dancers. I say yeah but we are playing for you to dance you know. So that's beautiful to to to get this this um >> feedback and I we I want I want to say thank you for the classes to to make this these programs happening you know and since there's a um studies about Africa for us it's a good chance to come and and and and u expose ourself that people know that we exist any cuz now artists everything's on the commercial >> if you're not commercial artist >> you're nothing we are not commercial and we will never reach to that point because the kind of music we do it's more heritage music and >> or art yeah so those kind of accessing and bringing people together it's very important even if we're not here but maybe the new generations oh but those people already So let's continue the legacy. >> So it's good for for for for both of us, you know, for the clusters, for for musicians that come from different place and coming together. Yeah. >> And the students and the schools. >> Sorry. >> And the students and the schools. >> And the students we need to Yeah, that's true. Yeah. The students also. Yeah. >> Okay. >> Yeah. >> Yeah. So thank you very much, Machum. uh especially you talked about the happiness uh that you found uh in working together with the other musicians also with the kids but I think you also brought then brought a lot of happiness to the public and to the kids. So thank you very much for coming back all the time and sharing your knowledge your music and and the happiness. Thank you so much. >> Thank you for having me here. Thank you.

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