Chikuni Radio Tonga Concerts
Introduction
This annual event now takes place in Chikuni during August or September. Participants must register in advance, and their songs must be original—never previously published or recorded. While a central theme is usually selected each year, participants are free to address any important topic in their songs.
Each category offers three prizes. A panel of judges ensures that entries fit within the designated categories, feature meaningful lyrics, and include an original melody.
This annual event now takes place in Chikuni during August or September. Participants must register in advance, and their songs must be original—never previously published or recorded. While a central theme is usually selected each year, participants are free to address any important topic in their songs.
Each category offers three prizes. A panel of judges ensures that entries fit within the designated categories, feature meaningful lyrics, and include an original melody.
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Past Concerts
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Tongan traditional music is rich and diverse, reflecting the deep cultural heritage of the Tongan people. However, it is also undergoing continuous change. Much of the older, traditional music has been lost over time, while new forms have emerged—often seen by elders as a regrettable departure from the musical traditions they once knew.
Perhaps the best way to understand Tongan music is to examine each form of musical expression individually, providing detailed accounts of how they are performed. In this effort, we have drawn on the knowledge and experience of community elders to ensure accuracy and authenticity. For each musical tradition, we have described the performance practices as thoroughly and respectfully as possible.
Perhaps the best way to understand Tongan music is to examine each form of musical expression individually, providing detailed accounts of how they are performed. In this effort, we have drawn on the knowledge and experience of community elders to ensure accuracy and authenticity. For each musical tradition, we have described the performance practices as thoroughly and respectfully as possible.
- Traditional Styles include some of the following : Kutwa, Kuyabila , Kalumbu & Kankobela , Chikaambe-kaambe , Ndikiti , Kukambilana Makwaya ,Bukonkoolo , Budima , Masabe ,Ngoma Yabukali ,Kalyaba
- Modern Styles Include some of the following: Seesa , Chigome , Kalindula , Ma Guitar , FreeStyle
Traditional Form of Music
Kutwa
Kutwa is a form of traditional music associated with labor, particularly with pounding grain or maize—a task that once occupied much of a Tonga woman’s daily life. During these long hours, women would often sing, gradually developing a rich repertoire of pounding songs. These songs reflect the lived experience of Tonga women, offering insight into various aspects of daily life: marriage issues, social relationships (e.g., with mothers-in-law, headmen), and personal emotions.
Today, pounding has decreased in frequency, but the tradition of singing while working remains culturally significant. Women also sang during grinding, underscoring how music was woven into the rhythm of everyday life.
Kuyabila
Kuyabila is one of the most personal and expressive forms of Tonga music. Sung solo by either a man or a woman, it is usually accompanied by the friction drum (Namalwa), a rattle (Muyuwa), or sometimes a traditional drum (Ngoma) played with a distinct rhythm. Kuyabila could be performed at funerals or during daily life to release inner feelings and hidden experiences that were not easily shared in conversation.
Subjects ranged from personal bravery and hardship to pride in cattle or difficult journeys. Listeners paid close attention, as the songs often revealed deeply personal stories. In the middle of a Kuyabila, the audience would encourage the singer by calling out (Kumutembula), and the performance often ended with self-praise or affirmations (Kulibanda)—not seen as boastful, but as a way of building inner strength.
Kalumbu & Kankobela
The Kalumbu is a one-stringed musical bow traditionally played by men. A gourd attached to the instrument acts as a resonator, and sound modulation is achieved by moving it towards or away from the chest. The Kalumbu is used to express personal emotions and life experiences. Notably, a young man playing the Kalumbu frequently was understood by his parents as signaling his desire to marry.
The Kankobela is a type of thumb piano, consisting of a small wooden board with approximately eight metal keys. Below the keys is a resonator hole covered with a white substance made from spider egg sacs (Namundelele) to modify the sound. Tuned to a pentatonic scale, the Kankobela—like the Kalumbu—allows the musician to express deep emotions and life stories through song.
Chikaambe-kaambe
Chikaambe-kaambe is a dance performed during girls' initiation training. It features a variety of styles tied to specific songs:
Ndikiti
Ndikiti is a versatile dance performed during initiation ceremonies, funerals, and beer parties. At initiations, it is danced both the night before and the day of the ceremony. At funerals, it is performed before and during the burial, often in a circle around the grave with the drum placed at the center. It is also performed during the one-month memorial (Mweesyo). The sorrowful tone at funerals contrasts with its more joyous, freeform expression at beer parties, where dancing becomes livelier as alcohol flows.
Ndikiti lyrics are generally more developed and poetic than those in other Tonga songs. In various regions, the dance is also known as Haamatika, Mayanze, or Bukonkoolo.
Kukambilana
Kukambilana is another multi-purpose dance used during initiations, funerals, and beer gatherings. Dancers form a circle, each taking turns to dance in the center. One unique aspect is the use of mime: performers often imitate people or animals, frequently adding humorous elements to entertain the audience.
Makwaya
Makwaya is performed during initiations, weddings, and for general entertainment. Participants form a circle around a central drum, creating a communal, celebratory atmosphere.
Bukonkoolo
Originally linked to funerals, Bukonkoolo features women sitting on either side of a pestle placed on the ground. They use sticks to beat out a complex rhythm while others dance around them. The pestle functions as both instrument and symbolic centerpiece.
Budima
Budima originated in the Gwembe Valley and was traditionally reserved for the funerals of chiefs or wealthy individuals. It features a large drum ensemble and flutes (Nyeele), with each drum having a distinct name and function. The music is solemn and ceremonious, reflecting the status of the deceased.
Masabe
Masabe is a healing dance associated with illness. The afflicted person would be invited to dance as a form of therapy, guided by a rhythm that corresponded to their specific condition. Three drums accompany the ritual, each playing a defined role.
Ngoma Yabukali
Originally a warning rhythm, Ngoma Yabukali was played during dangerous situations—such as tribal raids or the presence of a lion. Its urgent, forceful rhythm alerted villagers to impending danger. Today, it is performed more joyfully, often at funerals of the elderly or in celebratory contexts. The associated dance, Kutambala, still features dancers with spears, supported by drums, rattles, and Kuzemba.
Kalyaba
Kalyaba is currently among the most popular Batonga dances. Performed at funerals, initiations, and beer parties, it is danced by both men and women. Two drums are positioned at the center, with dancers forming a circle around them.
Modern Forms of Music
Seesa
Seesa is a modern drum dance with roots in the malende (shrine) rhythm, though many performers are unaware of its origin. It features two drums: a master drum and a smaller kasunto drum. Traditionally, it involved a close male-female waist dance, but today the dancers move in a circle. Professional drummers can produce a wide range of expressive sounds—mimicking birds, dogs, or even crying children. The Gonde Culture Troupe of Mazabuka was known for its electrifying Seesa performances.
Chigome
Chigome is a contemporary style featuring guitars or banjos. The name comes from the act of tapping the guitar body near the sound hole, producing a distinctive percussive sound. It evolved from Masabe healing music and was popularized by Peter Nangulu. Short Mazabuka is a notable modern performer in this genre. Chigome retains a ritualistic spirit but is known for its fast tempo and rhythmic complexity, typically performed by a lead singer and backup vocalists.
Kalindula
Derived from the Kalindula dance of Serenje District in central Zambia, this style was popularized by the Serenje Kalindula Band. They famously used homemade guitars, with a unique large bass instrument featuring three strings stretched over a resonator made from a drum’s metal body. The music uses a call-and-response structure common in African music traditions.
Ma Guitar
Ma Guitar music is played using hand-crafted wooden guitars with varying numbers of strings (3 to 6). The tuning and chords are often unique to the musician, giving each performance a distinct and original sound.
Freestyle
Freestyle includes any Tonga music that doesn’t fit neatly into the categories above. It reflects the evolving nature of Tonga musical culture and creativity
Kutwa
Kutwa is a form of traditional music associated with labor, particularly with pounding grain or maize—a task that once occupied much of a Tonga woman’s daily life. During these long hours, women would often sing, gradually developing a rich repertoire of pounding songs. These songs reflect the lived experience of Tonga women, offering insight into various aspects of daily life: marriage issues, social relationships (e.g., with mothers-in-law, headmen), and personal emotions.
Today, pounding has decreased in frequency, but the tradition of singing while working remains culturally significant. Women also sang during grinding, underscoring how music was woven into the rhythm of everyday life.
Kuyabila
Kuyabila is one of the most personal and expressive forms of Tonga music. Sung solo by either a man or a woman, it is usually accompanied by the friction drum (Namalwa), a rattle (Muyuwa), or sometimes a traditional drum (Ngoma) played with a distinct rhythm. Kuyabila could be performed at funerals or during daily life to release inner feelings and hidden experiences that were not easily shared in conversation.
Subjects ranged from personal bravery and hardship to pride in cattle or difficult journeys. Listeners paid close attention, as the songs often revealed deeply personal stories. In the middle of a Kuyabila, the audience would encourage the singer by calling out (Kumutembula), and the performance often ended with self-praise or affirmations (Kulibanda)—not seen as boastful, but as a way of building inner strength.
Kalumbu & Kankobela
The Kalumbu is a one-stringed musical bow traditionally played by men. A gourd attached to the instrument acts as a resonator, and sound modulation is achieved by moving it towards or away from the chest. The Kalumbu is used to express personal emotions and life experiences. Notably, a young man playing the Kalumbu frequently was understood by his parents as signaling his desire to marry.
The Kankobela is a type of thumb piano, consisting of a small wooden board with approximately eight metal keys. Below the keys is a resonator hole covered with a white substance made from spider egg sacs (Namundelele) to modify the sound. Tuned to a pentatonic scale, the Kankobela—like the Kalumbu—allows the musician to express deep emotions and life stories through song.
Chikaambe-kaambe
Chikaambe-kaambe is a dance performed during girls' initiation training. It features a variety of styles tied to specific songs:
- Mulupumbe: Dancers enter one after another with movements focused on the shoulders and legs.
- Hiya mwana mwana: Dancers raise the right leg high in rhythm with the drum, swinging their arms forward and back while turning their heads side to side.
Ndikiti
Ndikiti is a versatile dance performed during initiation ceremonies, funerals, and beer parties. At initiations, it is danced both the night before and the day of the ceremony. At funerals, it is performed before and during the burial, often in a circle around the grave with the drum placed at the center. It is also performed during the one-month memorial (Mweesyo). The sorrowful tone at funerals contrasts with its more joyous, freeform expression at beer parties, where dancing becomes livelier as alcohol flows.
Ndikiti lyrics are generally more developed and poetic than those in other Tonga songs. In various regions, the dance is also known as Haamatika, Mayanze, or Bukonkoolo.
Kukambilana
Kukambilana is another multi-purpose dance used during initiations, funerals, and beer gatherings. Dancers form a circle, each taking turns to dance in the center. One unique aspect is the use of mime: performers often imitate people or animals, frequently adding humorous elements to entertain the audience.
Makwaya
Makwaya is performed during initiations, weddings, and for general entertainment. Participants form a circle around a central drum, creating a communal, celebratory atmosphere.
Bukonkoolo
Originally linked to funerals, Bukonkoolo features women sitting on either side of a pestle placed on the ground. They use sticks to beat out a complex rhythm while others dance around them. The pestle functions as both instrument and symbolic centerpiece.
Budima
Budima originated in the Gwembe Valley and was traditionally reserved for the funerals of chiefs or wealthy individuals. It features a large drum ensemble and flutes (Nyeele), with each drum having a distinct name and function. The music is solemn and ceremonious, reflecting the status of the deceased.
Masabe
Masabe is a healing dance associated with illness. The afflicted person would be invited to dance as a form of therapy, guided by a rhythm that corresponded to their specific condition. Three drums accompany the ritual, each playing a defined role.
Ngoma Yabukali
Originally a warning rhythm, Ngoma Yabukali was played during dangerous situations—such as tribal raids or the presence of a lion. Its urgent, forceful rhythm alerted villagers to impending danger. Today, it is performed more joyfully, often at funerals of the elderly or in celebratory contexts. The associated dance, Kutambala, still features dancers with spears, supported by drums, rattles, and Kuzemba.
Kalyaba
Kalyaba is currently among the most popular Batonga dances. Performed at funerals, initiations, and beer parties, it is danced by both men and women. Two drums are positioned at the center, with dancers forming a circle around them.
Modern Forms of Music
Seesa
Seesa is a modern drum dance with roots in the malende (shrine) rhythm, though many performers are unaware of its origin. It features two drums: a master drum and a smaller kasunto drum. Traditionally, it involved a close male-female waist dance, but today the dancers move in a circle. Professional drummers can produce a wide range of expressive sounds—mimicking birds, dogs, or even crying children. The Gonde Culture Troupe of Mazabuka was known for its electrifying Seesa performances.
Chigome
Chigome is a contemporary style featuring guitars or banjos. The name comes from the act of tapping the guitar body near the sound hole, producing a distinctive percussive sound. It evolved from Masabe healing music and was popularized by Peter Nangulu. Short Mazabuka is a notable modern performer in this genre. Chigome retains a ritualistic spirit but is known for its fast tempo and rhythmic complexity, typically performed by a lead singer and backup vocalists.
Kalindula
Derived from the Kalindula dance of Serenje District in central Zambia, this style was popularized by the Serenje Kalindula Band. They famously used homemade guitars, with a unique large bass instrument featuring three strings stretched over a resonator made from a drum’s metal body. The music uses a call-and-response structure common in African music traditions.
Ma Guitar
Ma Guitar music is played using hand-crafted wooden guitars with varying numbers of strings (3 to 6). The tuning and chords are often unique to the musician, giving each performance a distinct and original sound.
Freestyle
Freestyle includes any Tonga music that doesn’t fit neatly into the categories above. It reflects the evolving nature of Tonga musical culture and creativity