By Takura Zhangazha*
I did not know that what is now referred to as Zimbabwe Dancehall (ZimDancehall) music has captured a lot of young Zimbabweans’ cultural hearts and minds. At least not to the reported extent that it appears to have now done.
At the end
of August 2024, there was a major event called Cup clash for the genre at the
local City Sports Centre in Harare. I
watched snippets of the show and also asked some young comrades what the
excitement was all about.
The answers
varied but all boiled down to almost the same thing. Basically it is what is the new urban and
peri-urban ghetto culture in Zimbabwe.
Some considered it spontaneous, others more of a reflection of economic
and drug-abuse related existential frameworks for many youths in the country. Others still saw it as just the
transformation of our local music industry to keep up with global trends,
social media platforms and the immediacy of the popular need for any form of
radically different entertainment.
What is relatively
apparent is that it is more or less an emerging, entertaining, even if for now ephemeral,
cultural lifestyle for many young Zimbabweans.
I laughed
the other day when a young man was walking up and down my local neighbourhood
apparently chanting his rhymes. All the
while with earphones straddling his head.
I was a little bit shocked and asked him if everything was ok. He replied that he was practising his song
for the latest ‘tune’ coming out of a Dzivaresekwa studio. And moreso that if I could possibly help him
with at least $US5 for a studio session in the same suburb.
Apart from
asking him to give me a sample of his music, I did go on and help him with the
required studio session amount. I have not really heard from him since. Perhaps because he probably did not meet the required chanter standards.
What
however is more interesting about this ZimDancehall genre has been what it
associates itself with vis-a-vis its actual content and how government and older
Zimbabweans view it.
I will
start with its content. It is highly
creative and also generally mimics what comes out of its founding Jamaican counterpart
genre of music.
It has a
global feel in relation to its instrumentation (dancehall reggae rhythms and
chants). It is also highly materialistic
and individualistic. Wherein attendant to the ‘riddims’ are lyrics that either
talk of a rags to riches story or alternatively how much more of an
indefatigable ‘champion’ one is in either music, money, women or global travel.
This also
being a reflection of the general ‘dog-eat-dog’ status of Zimbabwean society
where individualism, materialism in its neo-liberal capitalistic sense rides roughshod
over a majority of both the urban and rural poor. In this is is also linked, tragically so,
with a serious drug abuse pandemic that ironically is not limited to Zimbabwe
but wherever this type of music is popular.
Then there is the manner in which it is also viewed by government and the ruling Zanu Pf party. Almost in similar fashion to how government and Zanu Pf relate to religious organisations, this music trend is viewed as a party supporter and voter mobilization tool. Young and popular ZimDancehall artists will be roped in to compose or perform music palatable to ruling party cultural and mobilization functionaries. Especially toward national elections or national events presided over by the President or his functionaries.
In this politicized role, ZimDancehall artistes are also well aware of their own financial and material interests and will openly defy urban opposition political expectations of either neutrality or support.
This
has been the case with a number of the most popular of these artists including some
who initially sang songs more sympathetic to the opposition and eventually
changed tack. Ostensibly for the
financial benefits that were evident for those that do not cross the ruling
party.
Beyond the politicization
of the ZimDancehall genre, it is clearly here to stay for a while. Its almost both age based (generational) and
urban lifestyle driven. With a very awkward over romanticizing of the ‘urban
ghetto’ and how someone got out of it in relation to poverty. Only to want to go back and flaunt their success
in the same never changing urban ghetto poverty. Be it in a Special Utility Vehicle (SUV) or
with wads of money.
This brings
me to the perception that older generations of Zimbabweans’ have of this music
and expanding cultural genre. On the
face of it, it is a popular with older Zimbabweans where it has either catchy or
trendy gospel or family value related themes.
It is highly unpopular however where it concerns the drug abuse related
lifestyles that it organically depicts.
This is because some of its best musicians and creators are reportedly associated with varying forms of drug abuse.
And in most cases are also still viewed by many young Zimbabweans as
role models because of their musical and material success.
So older
generations of Zimbabweans understandably worry about this. But even as they
worry, they would do well to remember that when they were younger there were
phases of specific popular types of music that they listened to that also meant
specific lifestyles. From country music
through to reggae and even sungura.
Every music genre has its own time and influence. And it cannot always be harnessed to be moralistic
if your society remains economically unjust.
That’s why
after the late 1980s, with the advent of Economic Structural Adjustment (ESAP)
and a breakdown in the Zimbabwean social welfare state, the music genre that
ruled the roost was Christian gospel music.
And why now, in our own age of state neoliberalism ZimDancehall reflects high levels of individualism and materialism. Or even borderline pretensive egotism. Even where it does not materially apply.
ZimDancehall
music as a genre and a cultural lifestyle is a product of its contemporary
time. It reflects Zimbabwean
economic reality and the sometimes convoluted aspirations of many urban and peri-urban youths. And yes,
it cannot be censored or wished away. Especially
not in the age of social media.
If you ask,
“Will it come to pass?” The quick answer is only with the passing of time/ and changing age of its ardent fans. And for sure those that come after
them will re-invent another genre that reflects their lived social and economic
realities.
*Takura
Zhangazha writes here in his personal capacity (takura-zhangazha.blogspot.com)