Alot of creativity by Zimbabwean artists comes from absorbing new environments and cultures. Many ghetto youths listened to the digital music that was coming from Jamaica, downloaded it, and replaced the Jamaican voices with Shona lyrics.
IN THE GROOVE WITH FRED ZINDI
Thus, Zimdancehall was formulated. But can we call this kind of music our own? The only claim we have to this kind of music is the prefix “Zim” to an already established genre.
There is need for new innovations in our music today. Zimdancehall has run its course. The likes of Tocky Vybes, Killer T, Seh Calaz and Soul Jah Love are now finding it hard to find something new to offer the public as most of their music is based on the same digital “riddims” borrowed from Jamaica. Even Tocky Vybes has realised that he has to move away from the “riddim” and is now trying to find his way out of it, as evidenced by his latest offering on his latest 16-track album, Kwata Zonke. The public also seems to have had enough of this trend and are now waiting for a new genre to emerge.
Yes, an exclusive Zimbabwean genre can emerge. There is no need to keep “stealing” from Jamaicans. After all, the ghetto youths of Jamaica are no different from the ghetto youths in Zimbabwe. One thing we have in common is a harsh economic climate and unemployment and it is through this that a lot of creativity is bound to occur.
Last week, I had the opportunity to interact with four visitors from Jamaica. I played them a Zimdancehall tune from one local artiste and one of them remarked: “Is who sing dat tune?” I told them that it was a Zimbabwean singer and he exclaimed; “Buoy, you Zimbabweans are big tiefs. All along me tot dis ya tune come from Jamaica. You is too raatid tief man! Raas!” I was embarrassed and began to wish I had not played that tune.
Now you see why I think we need music that will identify us as a nation? Sungura has come of age, but many of its proponents have died. The likes of Leonard Dembo, John Chibadura, Tongai Moyo, Simon Chimbetu and James Chimombe are all gone.
We are only left with Alick Macheso, Sulumani Chimbetu, Peter Moyo and Somandla Ndebele to carry that genre through. Biggie Tembo of the Jit-jive fame also faced the same fate. Jit died with the Bhundu Boys.
- Chamisa under fire over US$120K donation
- Mavhunga puts DeMbare into Chibuku quarterfinals
- Pension funds bet on Cabora Bassa oilfields
- Councils defy govt fire tender directive
Keep Reading
Even that also needs reinvention in order to create an authentic, modern day Zimbabwean sound. Artists like Jah Prayzah who have the capacity to do so, have already started. There is a typical Jah Prayzah sound in today’s Zimbabwean contemporary sound.
The album, Jerusarema is neither reggae nor sungura. It is simply a Jah Prayzah sound and it has kept him on top of his game.
If his latest album, which is to be launched shortly, is anything to go by, Jah Prayzah will have his own sound and will remain on top of his game for a long time to come. He has followed the footsteps of his mentor, Oliver Mtukudzi, whose Tuku music sound is also unique.
This explains why these two remain at the top of the Zimbabwean music map today. They have remained grounded and intensely aware of their obligation to move their success forward.
There is a lot of talent and skill among Zimbabwe’s youngsters and with the right formulae, they could all be on the international stage.
But it takes a lot of hard work and seriousness to achieve this. Look at Nigerian artistes such as Wizkid, D Banj, PSquare and Flavour. They have all followed the music which was pioneered by the legendary Fela Anikulapo Ransome Kuti who combined traditional Nigerian Juju music with jazz and funk to create his Afro-beat.
Today, we can all identify Nigerian music when we hear it. Can’t the same thing happen for Zimbabwean music? Wizkid is now collaborating with world famous Chris Brown and Drake.
One of the world’s largest record labels, Sony Music Entertainment, have established an office in Nigeria because they have seen the growth of Nigerian music throughout the world. It is through investments like these that the Nigerians will not only have a pie in the world economy, but also share their culture, language, dances and fashion with the world. When will our artistes do the same? Who will bring the streets of Harare to a standstill when they rise to superstardom?
There is a wide range of beats we can use as Zimbabweans in order to advance our musical prowess. Combining R&B and jazz with sungura, rhumba, mbira and traditional beats may sound like an impossible task at the moment, but creative artistes will soon come out with a new genre.
I went on the streets of Harare to find out what music fans consider to be our true music genre and this is what some of them had to say:
Nelson Magore: “I think our true music is that which comes from the likes of Mukanya which he called Chimurenga music.”
Shereen Daniels: ‘‘Museve and Kongonya are true Zimbabwean music.”
Ben Chidhakwa: “I think Zimdancehall has become true Zimbabwean music today. It’s just that some of it is full of words which I have never come across in the Bible. So some people might not appreciate it.”
Emmanuel Thomas: “There is no such thing as Zimbabwean music. We have over the years borrowed from the South Africans, Zaireans, Jamaicans and Americans. At the end of the day we have nothing that we can call our own. Even museve or sungura are watered down versions of Zairean music.”
Angella Jaji: “Ah, you got me there. I have never thought about it, but I like music from Oliver Mtukudzi. Whether to call it true Zimbabwean music or not, is something else. When I am overseas I tell my friends that that is true Zimbabwean music, because I love Tuku but deep inside, I have my doubts about the origins of his music.”
Samaita Zindi summed it all up by stating that, “Any music coming from a Zimbabwean, is true Zimbabwean music. Whatever it is which inspires him to create that music, as long as he is a Zimbabwean, makes it Zimbabwean music”.
So you see, there is confusion out there about what we can call the Zimbabwean beat. Whenever I hear a reggae tune, whether it is one-drop or rockers, I can straight away identify that beat with Jamaica even though it may be coming from Lucky Dube.
When I hear a rhumba tune my mind goes to the Democratic Republic of Congo. I also identify kwaito with South Africa. The same thing goes for the Nigerian sounds and Azonto music from Ghana.
Is it not time Zimbabwean artists got together and created their own unique identifiable sound which we will market on the international stage? We need to reinvent the sounds of the likes of Fela Kuti, Brenda Fassie, Miriam Makeba and Augustine Musarurwa whose beats travelled around the world setting an example of how our African music can be appreciated by others. It is time to change the beat and establish our own brand.
Feedback: [email protected]
