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Costa Mano Online News Editor
When the 75 percent local content policy for broadcasting was brought to the fore in 2000 many of the country’s dominant musicians at the moment were just teenagers in high school with dreams to fulfil their music ambitions while others were just out of their teens.A lot was said about the policy, it being retrogressive, futile and an affront to the listeners’ prerogative of choosing the music they want and when they want.
The likes of Delani Makhalima, Plaxedes Wenyika, Sani Makhalima and David Chifunyise, to mention just a few, made a mark with some good music which was later termed urban grooves.
The enacting of the policy opened the airwaves to a new sound other than sungura, dendera, rhumba and other local genres that competed for airplay with international music.
Of course, the struggles faced by the pioneers of urban grooves were multifarious, from poor album sales to lethargic support from promoters.
Negative attitudes also developed from the “fact” that these artistes seemed to be only getting airplay because of the policy not for their talent.
The boys and girls in high school in 2000 who danced to Plaxedes’ music but could not afford to buy it are the ones leading the way in attending the singer’s “Urban Unplugged” gigs as today’s 25/30-year-olds.
The 75 percent local content policy indeed benefited a crop of musicians although urban grooves music lost its lustre along the way.
Now that Information, Media and Broadcasting Services Minister Professor Jonathan Moyo has reintroduced the policy, another generation of musicians is set to reap the benefits.
The emerging force of local dancehall artistes is taking the airwaves by storm and the local content policy will propel the youthful musicians to another level.
While urban grooves ruled the charts for some time, the tide has shifted to this genre driven by a faithful ghetto following.
It’s good to see these artistes being able to feed their families although earnings in this area still remain far from what Alick Macheso or Suluman Chimbetu pocket from their shows. The challenge now is the consistent production of quality music and maturity among musicians and their fans.
Dancehall has generally being associated with unruly behaviour stemming from drug abuse as well as the destructive ghetto cliques.
The Star FM Dancehall Overdrive gig held in Harare recently was a celebration of the fast growth of Zimbabwe’s dancehall but some unruly youths that apparently work in conjunction with some musicians almost disrupted the events when they demanded certain artistes remain on stage while chasing others away.
Such behaviour harms the interests of the artistes these fans supposedly support. The artistes themselves should be vocal in condemning such behaviour which ironically feeds into the stereotypes which is pathetic really.
The purpose of the 75 percent local content policy is to promote a thriving arts industry and dancehall is on an upward trajectory.
Let not petty squabbles and grudges about were an artiste comes from be the reason a noble initiative fails to achieve its objectives.
More upcoming musicians should join the dancehall race and compete with the likes of Winky D, Guspy Warrior, Killer T, Shinsoman among others.
A list of artistes that will share the stage Jamaican musician Turbulence at City Sports Centre on December 6 shows that there is more dancehall talent in the ghetto waiting for exposure.
Names like Jay C, Maffcat, Kaplaz, Fizz-Man and Tall B will battle it out for the crown in the gig dubbed King of Dancehall. More artistes are set to emerge and ride on the local content policy.
Online Reporter