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Lovemore Majaivana’s music used to be a joy to many back in the day

Tinashe  Mutero
Bulawayo-based musicians and by extension those in smaller cities have shied away from the popular music limelight in recent years. Talk of the Bulawayo and the other cities’ music scene is largely nostalgic, bordering on who used to be great.

It is not surprising to hear one mention yesteryear greats such as Solomon Skuza, Lovemore Majaivana, Sandra Ndebele, Ndolwane Super Sounds, Tukuye Super Sounds. The more probing could mention Jeys Marabini. Cal_Vin could be an exception it is only that Zim Hip-Hop is in a coma.

The obtaining situation gives an impression that Bulawayo has no outstanding musical talent. On the contrary, the city is a bastion of creativity. The City of Kings and Queens has a lot of amazingly talented musicians who include the aforementioned Jeys Marabini, Nobuntu, Nkwali, IYASA, Black Umfolosi, Siyaya, Insingizi, Dumisani “Ramadu” Moyo, Vusa Mkhaya to mention but a few. All the artists mentioned here tour internationally, performing for cosmopolitan audiences unlike their Harare-based counterparts who almost always perform for their homesick countrymen when they embark on tours outside their country.

Perhaps save for Inkululeko Yabatsha School of Arts (IYASA) these individuals and groups control a very insignificant piece of the market share in Zimbabwe. They even fail to attract audiences in their home town, Bulawayo; a feat achieved with ease by Oskido during the yearly Kalawa homecoming shows.

As much as most of these touring ensembles try to perform locally the attendance is almost always poor despite the highest entrance fee will only be USD 5. Even worse is that 75 percent of the audience will be (non-paying) musicians and a paltry 25 percent is made up of everyday people. On good days, their Harare-based counterparts have almost cult followings filling up venues across most parts of the country.

They also make up the so called “Big Five”, a concept which I think died when forgotten Patson Chipaz Chimbodza went bankrupt of either capital, ideas or both.

My estimation, however, is that these touring groups are making a decent living from art. What worries me is that most of us, Zimbabweans do not celebrate these creatives. It is even worse for artists who live outside Harare and Bulawayo.

Recently, I attended a gig with a friend of a friend in Gweru (yes, his extended friend-mily is notable-friend of a friend!), where Yulesis Katoto was playing at one of the few decent joints. Upon feasting on Yule’s musical genius, this friend of my friend, exclaimed, “What is this guy doing in Gweru?” Of course, I responded in a manner I thought ED should have responded to that now infamous journalist at MT’s residence who stole the limelight by asking the daftest question in the history of modern day journalism and beyond! Ndakati, “Avuya kuhoba magwavha?” (You reckon he is here to steal guavas?)

This question sums up the predicament befalling musicians and almost every other artist based in small cities and towns. They are not supposed to live where they feel they belong and it also appears there is no visible support structure for such artists. Nonetheless, they soldier on. But how do they strive? I will not try to answer this question.

This article is intended to raise some of the challenges which are almost unique to out of Harare artists. While it is a widely acceptable fact that song lyrics reflect on the society, some artists from Bulawayo self-censor due to fear of releasing politically incorrect songs.

Whether this fear stems from an imagined or real premise, I do not know. As a compromise they end up singing in Shona, a language in which they do not have full proficiency and is detached from the realities of their home fans. For Karanga musicians the genius among us will know from Jacob Moyana’s fate that their dialect is not standard Shona, embracing it fully comes before the end of their careers.

It is very easy to skate around this issue because of the tribal undertones it carries but I honestly think we need to confront this devil. Shona people need to learn to appreciate Ndebele songs and musicians in the same fashion they appreciate Diamond Platnumz without understanding a word he mutters.

Or better still we need to learn Ndebele as fast as we do learn Zulu when we are in neighbouring South Africa. On their part Ndebele musicians should be comfortable to sing in their language and be confident to sell to every Zimbabwean. Majaivana did that and almost everyone knows IYASA’s “Sjaiva s’bancane”.

For musicians who live in smaller cities such as Mutare, Gweru, Kwekwe and Masvingo, one of the biggest challenges is that they are under-resourced. Spaces which were built and reserved for music have been colonised by churches.

The Midlands Academy of Music houses gospreneurs who count to more than the sum of churches we had in Mkoba in the 90s. The theatre in Kwekwe is now a temple as well.

Due to some changes to policy, schools which used to be reliable performance sites and a source of income no longer allow musicians to have shows for their students. One wonders where the responsible people want the students who now study music and art to meet and experience the joy of listening and watching live performances. Beer-halls and clubs perhaps, since theatres are now churches.

One of my interviewees indicated that Bulawayo musicians are not getting enough radio and television airplay. Hence it is impossible for them to be known by Zimbabweans. I am yet to ask if there has been any change of fortunes after the introduction of community radio stations. I know for certain that there isn’t a big change for Midlands based musicians. The local station though playing a very significant role serves only a few artists, coming from one or two stables.

I have observed that most newspapers seem interested in covering the Bulawayo ensembles only when they are going abroad for tours. Therefore, this makes it hard for them to advertise and expand their reach for local shows. Even worse is that some writers have penned their articles based on cyber realities, forgetting that outside the filters and appearances there is a reality which needs to be shared.

A reality which says at the peak of Zimdancehall Bulawayo had a thriving youth culture which was never documented to be popularised. A reality which says Ntswai Ntswai is still alive in Mutare and that besides Dhewa the most popular musician in Kwekwe is not Dj Fydale.

I find hope and happiness in that not all is gloomy. Information I gathered during a study, aborted due to funding constraints, points to a myriad of coping mechanisms which I hope to share in another instalment. In sum musicians who live in Bulawayo have long realised that Harare is not Zimbabwe and that talent alone is not enough. But for now, let us make Zimbabwe enjoyable and a conducive work environment for every local musician.