Synopsis
The formation of WITCH, Zambia’s most popular rock band of the 1970s. It documents the life of its lead singer, Jagari, whose name is an Africanisation of Mick Jagger’s.
Review
When I started watching WITCH, I wasn’t sure what to expect. I purposely did no prior research on it, nor did I watch the trailer, because I wanted to be surprised – and I was, pleasantly.
WITCH is a music travelogue that follows director Gio Arlotta and two musicians as they track down one of the last living members of the Zamrock band WITCH. An anagram for We Intend To Cause Havoc, WITCH were one of Zambia’s most popular rock bands in the 1970s. The film is an inspiring look at Zambia’s music scene. As it’s a travelogue, the shots are mostly handheld, which makes for an intimate feel. The cinematography is outstanding – it really highlights the natural beauty of Zambia’s landscape.
WITCH’s music was a combination of traditional African music and psychedelic rock, inspired by British invasion bands like The Beatles in the 1960s, which in turn was inspired by the blues music of 1920s New Orleans, which was created by the African Americans enslaved during the 19th century. WITCH highlights music’s ability to come full circle and to have continuous appeal and relevance.
The documentary mostly follows Emanyeo “Jagari” Chanda, one of WITCH’s last living members. Widely considered to be Zambia’s Mick Jagger, Jagari’s enduring passion and infectious energy really instils this film with a wholesome sense of hope. He excitedly shows the filmmakers WITCH and other bands of the era’s back catalogues in archives that haven’t been opened for almost twenty years, and reminiscences about his time with the band.
Jagari’s memories, and those from guitarist and polio survivor Victor Kasomaare, are brought to life by some beautiful animated sequences that combine traditional African art with the psychedelic aesthetic of Jimi Hendrix – my only issue with the animation is that I wish they’d used it more! It really enhanced the stories Jagari told and gave viewers who weren’t there to experience the 1970s first-hand an idea of what the vibe was like.
Not only is Jagari an incredible performer and WITCH’s music genuinely good, I learned a lot about Zambia during the 1970s. The African country was the first to become independent from its British colonizers in the early 60s, and the music that emerged following their liberation was important politically and culturally. A few of those interviewed reflected on how emotional it was for them to hear popular music sung in their native language – as a white person from Northern Ireland, I will never understand how that feels but it was amazing to see the impact it had on Zambian people and their culture.
Verdict
I found myself smiling throughout WITCH. I enjoyed the music, I loved watching Jagari perform, and I loved seeing how their music endures forty years later. The film ends with director Gio Alotta – now WITCH’s manager – reflecting on the revigorated band’s first European tour in four decades.
The new band is fronted by Jagari and supported by younger musicians from all around the world. It’s a testament to the power of music and how it can reach different age groups across any and all cultures.
