Mwesa, John Anderson (1938–2012)

John Anderson Mwesa was a Zambian Seventh-day Adventist music educator, government inspector of music education, composer, and renowned award-winning musician.

Early Life

John Anderson E. Mwesa was born on May 9, 1938, in Kafwanka Village, in the Luapula Province of Zambia. He was the second-born of the seven children of Pastor Jonathan Damson Mwesa and Mrs. Evelyn Kaunda Mwesa. His three sisters were: Margaret (Lupiya), Esther, Violet (Michelo), and his three brothers were: Wilfred, and the twins David and Jonathan. Jonathan D. Mwesa began his career as a teacher who served in various church schools such as the Musofu Mission Primary School, a Seventh-day Adventist Church educational institution in rural Ndola from 1946 to 1951. Here he became a headmaster before going on to study religion at Solusi College in Southern Rhodesia (now Zimbabwe). Later he became a pastor in the early years of the Seventh-day Adventist Church in Zambia. As a result, the Mwesa family maintained a close connection with the Church and its early missionary personnel, many of whom were from the United Kingdom and the United States of America, who influenced John Mwesa’s love of music.

Education and Early Career

John Mwesa begun his elementary schooling at Kabanda in Luapula Province in 1946. Later, from 1948 to 1951, he attended Musofu Mission Primary School where his father was teaching at that time. When his parents moved to Solusi College, he attended Solusi High School, where he studied Standard IV to VI from 1955 to 1957. It is there that he learned the “tonic sol-fa,” a method of studying music, particularly through singing while naming the musical notes by syllable names employed as labels for the diatonic scale notes (including chromatic notes) in any key. The “tonic sol-fa” was introduced to Mwesa by William Khona, his teacher. As a result, Mwesa began to learn and interpret songs written in sol-fa notation for four-part harmony, which sparked his interest in choral music. In spite of his passion for choral music throughout his basic and secondary education, Mwesa did not participate in any school choir. It should also be noted that the harmonica was the first musical instrument he learned as a child.

Around 1958, while living at Chimpepe Mission, in the Luapula Province, Mwesa participated in community football games with the thriving Chimpempe Mission senior football team, playing as a centre-half player in the second team, earning himself the moniker “layoni” (lion) from his admirers. During the same period, he worked as a pupil teacher (untrained teacher) at Chimpepe Mission.

From 1959 to 1960, Mwesa attended Lower Gwelo Mission College in Southern Rhodesia, where he earned a Primary Teacher's Higher Certificate (PTHC).¹ During his teacher training, his interest in music grew stronger. Mrs. Beardsell, the College principal’s wife, was instrumental in teaching him music theory and practice fundamentals.

In 1961, Mwesa entered professional teaching at Rusangu Primary School near Monze, in the Southern Province of Zambia. In 1966, he was transferred to Rusangu Secondary School, where he remained until 1974.² Mwesa was glad to become one of the first Black African teachers at Rusangu Secondary School. There he served as a boarding master in addition to teaching Mathematics and Civics, and taking charge of sports. It was at Rusangu Secondary School that he first came across the silimba (marimba) musical instrument played by Leonard Chipeso. Mwesa was amazed at the silimba and went to great lengths to learn how to play it. His interest in incorporating African music and instruments into Christian choral music grew from his experiences there.³ From July 1-4, 1972, Mwesa spearheaded a Church-sponsored workshop “to bring to the surface indigenous Christian Music approved by the Church.”⁴

During his tenure at Rusangu Secondary School, he formed a students’ music club. Among the club members was a female singer named Jenifer Tiny Chuma, a daughter of a Southern Rhodesian migrant family. Mwesa subsequently proposed marriage to her after she completed Standard VI, and the two were married on June 22, 1962. They raised five children, namely Rosedale Kaunda (Namoomba); Dennis Lobola; Alex Makungu; Martin Zwangendaba; and Grace Ngosa (Manyevera). Two of these children, Alex and Grace, also pursued professional musical careers. Alex, their third-born son, was the only Zambian pupil to pass Cambridge Music Examination in 1988. John Mwesa and his wife instilled a love of music in their children as well their desire to offer service to the Church. Mwesa’s musical influence on his children was so strong that all of the children continue to participate actively in music performances to this day.

From 1974 to 1977, Mwesa opted to professionalize his music career by enrolling at Evelyn Hone College of Applied Arts and Commerce in Lusaka.⁵ He became one of the first Zambian music students at Evelyn Hone College. After successfully completing the music teachers’ diploma in 1977, Mwesa was assigned to introduce music studies at Kitwe Teacher Training College in the Copperbelt Province. There, he organized a successful and renowned College Choir.

Mwesa was eager to advance his music studies. Providentially, he received the British Council scholarship to study for a Bachelor of Music Education at New Castle University in 1979.

Upon the completion of his studies, Mwesa was redeployed to the Ministry of Education headquarters in Lusaka where he became Zambia’s first inspector of Music Education in 1980. Mwesa later studied for the Master of Music Education from the same university in 1984, after which he was appointed the principal inspector of teachers of music. He served in that position until his retirement from government service in 1993. From 1993 to 1994, Mwesa joined a Canadian teacher’s project based in Zambia where he assumed the position of mathematics and education specialist.

The Crusaders

Mwesa was an admirer of the renowned vocal male quartet from the USA, the King’s Heralds Quartet of the Voice of Prophecy. In pursuit of the King’s Heralds Quartet’s music, he founded the Crusaders Quartet,⁶ which emulated and attained the singing quality of the King’s Heralds. During the 1960s, the Crusaders Quartet toured Zambia extensively, singing in Seventh-day Adventist churches and camp meetings.⁷ In 1966, the quartet was invited to go and perform, during South Africa’s apartheid-era, in Soweto Adventist churches and communities of color. They also visited Cape Town and sung at the whites-only Helderberg College, witnessing firsthand the racial segregation that then prevailed in South Africa. D. W. Swaine, a white American singer, was the quartet’s first tenor at the time. On various instances, the three colleagues of black descent had to separate from their white colleague in areas where there were black walkways and white walkways. However, the quartet managed to record two albums titled, “There’s A Land Beyond the River” and “Steal Away”, respectively, in Johannesburg that same year. During that South African tour, the quartet also performed alongside the King’s Messengers Quartet of South Africa. The Crusaders Quartet released their third and final album in 1980, titled, “Over 19 Years,” to acknowledge their years of dedication to Christian quartet music in Zambia.

The Crusaders Choir, on the other hand, was a mixed gender choir that Mwesa founded in 1974 as a sister ensemble to the Crusaders Quartet. The repertoire consisted mostly of Zambian local Christian compositions. Mwesa began experimenting with vernacular hymn arrangements as well as incorporating African musical instruments such as the Lozi silimba (marimba) and African drums alongside with western instruments such as pianos and guitars. This is highlighted in the album “Twakulumba” (We Praise Thee) from 1975. This music project was produced in Nairobi, Kenya, and was funded by the World Council of Churches. At this point, Mwesa’s musical exploits began to garner national recognition in Zambia. The Crusaders Choir appeared regularly on Zambian national television and radio, singing the advent message through song.

In 1977, a choir led by Mwesa was selected to represent Zambia at the second World Black & African Festivals of Arts and Culture in Nigeria. The month-long celebration highlighted African culture by showcasing African music, fine art, literature, drama, dance, and religion to the rest of the globe. The event attracted over 16,000 participants representing 52 African states and African Diaspora countries. Zambia was represented by the Crusaders Choir, which featured Zambian Christian compositions. The Crusaders Choir released their last LP record, "I Know Where I'm Going", in 1976.

The Heritage Singers Choir

While at Kitwe Teachers Training College, Mwesa formed the renowned Copperbelt Heritage Singers Choir, a mixed gender choir, in 1980. This choir was comprised of Adventist members from the different towns in the Copperbelt Province, i.e., Kitwe, Ndola, Luanshya, and Chingola. The choir, just like its predecessor the Crusaders Choir, reached national prominence, singing in church as well as state functions and occasionally holding public concerts. The choir recorded their only LP record, titled “Getsemane” in 1980.

As stated previously, in 1980, Mwesa relocated to Lusaka to take up the position of Music Inspector with the Ministry of Education. Upon his arrival in Lusaka, he soon founded, yet again, the Heritage Singers of Zambia, a sister choir to the Copperbelt Heritage Choir, which continues to perform to this day. This ensemble became Zambia’s ambassador at a number of local and international music festivals.⁸

During the late Dr. Kenneth Kaunda's presidency, the Heritage Singers of Zambia quickly became a favorite choice for state functions. His Excellence the president personally insisted on the choir’s availability for his birthdays and national independence celebrations, and whenever foreign presidents visited Zambia. Dr. Kaunda even had a favorite tune, the Bemba hymn “Eko Yaba Impanga” (There Is a Land), which was at the top of his wish list.

COMEX 10

Lieutenant Colonel Lionel Gregory (1918), a former British army officer, organized the Commonwealth Exhibition (COMEX) in 1965. Its principal goal was to provide opportunities for commonwealth youth to contribute to commonwealth peace and understanding through self-conscripted performances of music and other performing arts. Several Commonwealth exhibitions have been held over the years following the first, which was held in 1965.

In 1985, Zambia’s Republican president, Dr. Kaunda, agreed to host the COMEX at the request of Lieutenant Colonel Lionel Gregory. The exhibition, led by John Mwesa, continued for two months from July 1 to August 31, 1985. Zambia, Botswana, Zimbabwe, Tanzania, Nigeria, Kenya, India, Canada, Malaysia, and the United Kingdom were the 10 countries that took part in the train journey, performing to various communities along the rail line and putting up public performances through a variety of performing arts. During COMEX 10, John Mwesa was honored with the Green Pennant Award, during which Dr. Kenneth Kaunda and Lieutenant Colonel Lionel Gregory were in attendance.

Italy 1986

Annually, on Christmas Day, the Heritage Singers of Zambia have performed for hotel guests at the Taj Pamodzi Hotel in Lusaka, telling the story of Christ’s birth. While the group was singing at the hotel in 1985, the music of John Mwesa piqued the interest of a World Wildlife Fund visitor. He was so taken with the singing that he inquired whether the choir would be willing to participate in the World Wildlife Fund’s 1986 summit in Italy. Various world religions congregated in Italy to honor the preservation of the earth’s natural resources. At the conclusion of the tour logistics and sponsorship arrangements, Mwesa was asked to write an African song in recognition of the event’s theme. He composed the “Canticle of Creatures,” a song in Zambia’s Bemba language that implored humanity to preserve and safeguard God’s creations. The song was the event’s highlight, receiving standing ovations whenever it was performed. The Heritage Singers of Zambia performed a number of concerts in Italy in partnership with other musicians, both secular and religious. Despite that, the Heritage Singers’ repertoire was Christian and of Adventist faith. It was clear they were the favorite at those events.

In 1989, another international conference held in Lusaka featured Mwesa and the Heritage Singers performing as Neil Henry reported: "Last month, Lusaka hosted a conference on African-American relations that attracted more than 200 political officials, academicians and other experts from both sides of the Atlantic. For five days, the analysts examined the myriad crises confronting this continent and discussed the singular ties of culture and history that Africa and America share."⁹

University of Eastern Africa, Baraton, Kenya: Reflections of a Colleague.

After retiring from the Ministry of Education in Zambia, John Mwesa accepted a call to the University of Eastern Africa – Baraton, near Eldoret, Kenya, in 1995, to work not only as the director of the Sub-department of Music, but also as the University’s director of Music, succeeding Mr. Boyd Gibson, who had returned to the United States of America a few months earlier. The music sub-department was the smallest at the institution, providing music services to the campus church and other official functions as well as offering a minor in music studies. Under the direction of John Mwesa, the music sub-department expanded in scope and academic programs. By the time John Mwesa was retiring, the University of Eastern Africa Baraton’s Sub-department of Music had blossomed into a full-fledged department with three programs: Bachelor of Music, Bachelor of Music in Music Education, and a Minor in Music. As a result, the department employed more than six faculty members, both full-time and part-time.¹⁰

Besides the expansion of the academic programs, Mwesa pioneered the acculturation of African music studies and performances not only at the University of Eastern Africa, Baraton, but within Kenya and neighboring countries. He successively fostered the incorporation of African musical traditions through the “African Cantata,” a vocal musical work of African medleys from several countries, performed by the University Chorale Ensemble, Chamber Singers, and the University Band. A common feature that caught the eye of most darlings of John Mwesa was the inculcation of the silimba, a traditional xylophone from the Lozi people of Western Zambia, in church worship and academic courses. He also presented many papers at international conferences including the Kenya Association of Musical Arts Education (KAMAE), the Pan-African Society of Musical Arts Education (PASMAE), and the International Society of Music Education (ISME). Among the unfulfilled undertakings left by John Mwesa were earning a Doctor of Philosophy degree at Kenyatta University in 2005 and the unpublished book Choruses of Africa.¹¹

Rusangu University

Upon his arrival at the then-Zambia Adventist University (now Rusangu University), Mwesa formed a University Choral Ensemble (ZAU Chorale) from scratch, consisting of students and faculty members. The ZAU Chorale soon gained popularity in Zambia because of Mwesa’s distinctive broad repertoire selections and inclusion of thrilling African works, many of which he arranged and accompanied with the Silimba (marimba). His enthusiasm for embracing African music in teaching and worship was unrivaled, and he pioneered many pedagogical techniques and ideas that have been adopted by many music educators and choir directors in Zambia and other nations where he taught. For many of his students, his influence on their lives was profound, and a favorite saying he constantly told them, “Leave a good ‘scar’ on the face of the earth when you are long gone,” still rings true.¹²

Among the highlights at Rusangu University, the University Choral performed for Commonwealth Parliamentarian from varied African countries hosted at the Livingstone’s Sun Hotel in 2008. During the conference session, in President Rupiah Banda's speech, John Mwesa was given special recognition for fostering excellence in music.¹³

Legacy

John Mwesa died on December 8, 2012, but his legacy continues. His talents and dedication to service enabled him to deliver an extraordinary music ministry to the Adventist Church and the country of Zambia. Mwesa has written a significant number of scholarly and religious papers on the subject of music. His most noteworthy contribution is the Music Practice & Theory, Book One, published in 1988, which served as the official textbook for music studies in public junior secondary schools for a long time. Other notable contributions include the 1998 article, “The choice of African Music in Adventist Institutions,” published by the Institute for Christian Teaching, in the Education Department of the Seventh-day Adventist Church in Kenya. Mwesa has taught at every level of education, from primary school to university. He has also been recognized by the Ngoma Awards, which presents the John Mwesa Award for Most Outstanding Choir at the National Choral Music Festival, hosted by Zambia’s National Arts Council.

Sources

Bristow, Albert. “Combined Adventist Choirs Give Concert in Lusaka.” Trans-Africa Division Outlook, January 15, 1973.

Chibbalo, C. Kanenga. Zambian Music Educator & Musician. Monze: Rusangu University, 2013.

Henry, Neil. “Lusaka, Zambia.” Foreign Journal – The Washing Post, February 6, 1989.

Kaoma, Peter B. “Passion for Music – John Mwesa.” The Passion Factor: A Tool for Tapping Life Resources (AuthorHouse, 2011).

Klausen, M. O. “Effort in Chingola, Northern Rhodesia.” Southern African Division Outlook, June 15, 1963.

Koloko, Leonard. “Heritage Singers.” Zambian Music Legends, North Carolina. Lulu.com, 2012.

Matandiko, Cornelius M. Seventh-day Adventism in Zambia. Lusaka: Zambia Adventist Press, 2001.

Shingalili, Nusa. “Archives.” ZAU Chorale. Rusangu University, 2008. Last Modified 2008. Accessed April 29, 2022. https://zauchorale.weebley.com/archives.html.

Notes

1. Nusa Shingalili, “Archives.” ZAU Chorale. Rusangu University, 2008. Last Modified 2008. Accessed April 29, 2022. https://zauchorale.weebley.com/archives.html.↩

2. Ibid.↩

3. Albert Bristow, “Combined Adventist Choirs Give Concert in Lusaka,” Trans-Africa Division Outlook, January 15, 1973, 10; A male choir from Rusangu Secondary School joined other choirs at Evelyn Hone fundraising progrom for Libala Church and Rusangu Church. Guests at the program were Mr. and Mrs. F. Chirwa, mayor of Lusaka, and Honorable Mr. O. T. Vibbeti, minister of state for Rural Development.↩

4. Cornelius M. Matandiko, Seventh-day Adventism in Zambia (Lusaka: Zambia Adventist Press, 2001), 169.↩

5. Peter B. Kaoma, “Passion for Music – John Mwesa,” The Passion Factor: A Tool for Tapping Life Resources (AuthorHouse, 2011), 57.↩

6. Ibid.↩

7. M. O. Klausen, “Effort in Chingola, Northern Rhodesia,” Southern African Division Outlook, June 15, 1963, 11; The Quartet gave spirited singing at the effort conducted by Pastor R. Ndhlovu.↩

8. Leonard Koloko, “Heritage Singers,” Zambian Music Legends (North Carolina. Lulu.com, 2012), 135.↩

9. Neil Henry, Lusaka, Zambia,” Foreign Journal – The Washing Post, February 6, 1989.↩

10. Jessie Wanderi, a Kenyan citizen who knew John Mwesa during his teaching years at UEAB, interview by author.↩

11. Ibid.↩

12. Lunga J. Sianagowa, interview by Nusa Shingalili and published in ZAU Chorale, 2008.↩

13. Ibid.↩