A generation of hymns and choruses

Godwin Muzari Showbiz Mirror
Creativity drives the arts industry. The more artistes come up with new and exciting ideas or products, the more attention they get from fans and observers. Of course, some artistes have been weird in their creations to the extent of inviting the ire of followers and critics.
Such is art. It is meant to attract attention, stir debates and present new views to various situations and environments.

Creativity does not only apply to the arts industry. Many sectors of life and business besides the arts need creativity for growth and development. Very few sectors thrive without new ideas and new exciting products. Recycling is a preserve of a few special facets of human and industrial processes.

So, in the arts industry success is usually measured by the capacity to create new products.

Although there are so many genres in the arts, followers of all the different genres have appreciation for new products.

Products that show how artistes would have gone beyond the norm usually become popular with fans.

This is why, for example, in the sculpture sector, stone-carvers that show imaginations beyond the traditional “torso” or “mother and child” pieces get recognition.

Sculpting is about imagination and bringing together ideas in an attractive way that breathes ‘life’ to stones, metal and wood.

Although artistes in some genres are lucky to ride on old creations, it is hard for musicians to remake songs and be successful.

Few musicians have been able to make careers out of “borrowed” products through renditions and remixes. In most cases, artistes that try to redo old songs expose themselves to direct comparisons with the original products and, normally, the original pieces have a better appeal.

Locally, the syndrome was infectious among young musicians, especially those from the urban grooves tag. Diana Samkange tried her best to have a “polished” version of James Chimombe’s “Zvaitika” but critics saw more flaws than improvements in the effort. Honestly, there was no way she could beat Chimombe to his own creation.

Prominent producer Gordon “Flash Gordon” Mutekedza had a whole compilation of renditions of yesteryear musicians by young artistes that failed to live to expectations.

Local music fans rarely tolerate remade versions of old songs.

They appreciate new material. That is why they become impatient when their favourite musicians take long to release new material and that is why musicians will always be judged by their new songs. It is an industry that is hungry for creativity.

Sebastian Magacha probably thought engaging Leonard Zhakata for a remix of the latter’s song “Kwekuturira” would have impact against the background that Zhakata had openly declared his Christian allegiance.

The result was an appalling song. It is even surprising that Zhakata agreed to take part on such a poor remix that actually distorts his original song.

The Magacha-Zhakata issue brings us to the topical issue about the current crop of gospel musicians.

It is disheartening how young gospel musicians have fallen into a comfort zone of redoing popular church choruses and hymns for the studio and the expense of creativity.

With all due respect, Kudzi Nyakudya should have grown beyond remixing popular hymns to create his own special fan base.

He is a talented young man who announced his arrival in the music industry in a big way when he was a schoolboy.

Has he run out of compositions to the extent of hinging his career on hymns?

Kudzi is now known more for singing hymns than his compositions.

The same applies to Painos Jaravaza who is redoing popular church choruses.

Maybe the major reason is that there is no one to claim copyright for songs in the public domain.

They are like traditional songs that include “Nhemamusasa” and “Chemutengure” that were done by many traditional musicians.

But the likes of Thomas Mapfumo and Chiwoniso Maraire that did these traditional songs had their own unique discographies.

Kudzi and Pianos are becoming increasingly dependent on these hymns and choruses.

Many other musicians are taking after them and this is not good for the gospel industry.

Many wonder why we rarely have musicians that can challenge the Charambas or Mai Suluma in gospel music.

With this fast growing copycat syndrome among gospel musicians, the genre’s future is doomed.

When a mature man like Clive Barangiro compiles hymns on serialised albums for so many years and sells the releases on the streets for massive returns, who can advise the young gospel musicians to create new material?

Some names among ZimPraise gospel choir are also specialists in redoing old choruses.

While it is not bad to constantly remind each other of the good old gospel songs in the public domain, I believe gospel musicians should not make these renditions their musical base.

Our own Mkhululi Bhebhe of Joyous Celebration can be forgiven for redoing the choruses because the trick in that choir is to popularise sing-along tracks.

It is also good that he is marketing those choruses abroad.

But local musicians should me more creative and grow out of this dependence syndrome.

Fungisai Zvakavapano-Mashavave used to ride on choruses but she grew out of it.

Upcoming musicians should be proud of creativity and show us that their talents go beyond vocal prowess. Creativity drives the music industry.