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Mai Charamba

Tinashe Mutero Own Correspondent—
“If only I knew the things I know now”. This statement is almost a cliché now. It has been used by many arts practitioners. Often, people traverse the same path, probably putting on different shoes and expecting to reach a new destination. On many occasions, female musicians have complained that the playing field is not level. Some even go the extent of suggesting there is no ground at all for them.

Recently, there was a debate about the big five of local music. The current (debatable) big five is made up of male musicians and those suggested as having potential to make it to the list are also male. The current list is said to have Oliver Mtukudzi, Alick Macheso, Jah Prayzah, Winky D and Suluman Chimbetu. A number of youthful musicians were suggested as new entrants to the big five.

It is unfortunate that real bucks are made by the big five. Thy get all the big deals, fanaticised protection, heavy media presence and everything beautiful. But there is something inherently wrong with the list of proposed future stars.

Prudence Katomeni-Mbofana

Where are the ladies?
Yes, the female musicians have not made it to the current big five, but are they so pathetic that they cannot even make numbers on the substitute bench? As it is, our young ladies do not have any mega star from within to look up to. It seems they are being socialised into believing that women do not deserve to be at the top in music.

It is unfair to leave out women when discussing musicians that have potential to rise in the industry. There are some ladies who deserve to be at the top, not because we want to play gender tokenism, but they are talented.

Agnella Viriri, a music studies specialist and lecturer in the department of Music and Musicology at the Midlands State University shared her opinion on the issue.

“It seems what determines fast rise and popularity in Zimbabwe popular music is performance of secular genres but most women who have been in the industry for some time now to be able to compete for the big five positions have been concentrated in the gospel music genre, which is usually performed in the environments that are considered safe for females.

“Society also has never been friendly to women in performance, so they will never be given credit even where they deserve it”. Her point can be substantiated by suggesting that Mai Charamba and Fungisai Zvakavapano-Mashavave have been consistent in their genre.

Fungisai Zvakavapano-Mashavave

Fungisai has had her share of controversy, which seems to have been calculated to capture the limelight, but it backfired badly, yet she wanted to get that deserved share of popularity. Viriri also notes, “Fungisai deserves her place in the sun. “She has taken heed to the trends that are most appealing and are receiving massive airplay in the media today.

“She is collaborating with most of these big male names but see how she is being condemned for wanting to move with the times.” Perhaps the top echelons of Zimbabwe’s popular music are inherently misogynistic. Maybe that was the reason why Fungisai tried performing in pubs and was persecuted.

The moral police thought her place was the pulpit. Still, they followed her and called her a gangster, after she worked with Killer T. Of course, she might not have been given due credit, but the song “Vanondibatirana” was beautifully sung, with a catchy melody and everyday lyrics that resonate with every soul.

Mai Charamba is one of the talented musicians in the land and she works with her husband Pastor Charles Charamba to make good music. Although their current joint album could not maintain their high standards, Mai Charamba remains one of the top musicians in the land and it is unfair to ignore her when talking about big singers in the country.

Diana Samkange’s new album “Kwayedza” could be one of the good releases for 2016 and she is one artiste who has managed to change her style towards international standards. Hope Masike is another musician who has gone beyond the way in trying to claim space, not just herself but many other female artistes as well.

She came up with the SWAY platform that is meant to promote female musicians. Her first gig featured talented local ladies Prudence Katomeni-Mbofana, Rute Mbangwa and Dudu Manhenga.

Of course Jazz is not a favourite of many, but the point here is women are determined to support each other to challenge male dominance in the industry. Masike is currently working on a track with Sulumani Chimbetu and one hopes that the song will get the attention it deserves.

It is likely to be a good song considering that Masike once experimented with sungura on “Wepepedu”, a great track that went unnoticed. Her video to the song “Huyai Tinamate” definitely ranks amongst the best from Zimbabwe in 2016.

She set a new standard that was conveniently ignored or applauded in hushed tones. However, Zimbabwean female musicians need to think beyond the petty jealousies if they are going to reap the benefits of “shine theory”, which basically speaks to basking in your competitors’ glory.

They have to continue working hard and not get comfort in complaining that they are marginalised. There are many female musicians internationally that have outshined their male counterparts. Musicians like Beyonce, Shakira, Lady Gaga, Rihanna and Britney Spears have made waves internationally.

Closer to home, Rossala Miller, Miriam Makeba, Brenda Fassie and Yvonne Chaka Chaka shook the world while our own Chioniso Maraire and Mbuya Stella Chiweshe gained popularity beyond our borders.