Online Reporter
IN yesterday’s edition, we carried the story of how the spirited debate over what truly constitutes Jiti music.
Our correspondent asked whether Baba Harare should be regarded as a Jiti musician is more than a disagreement over labels.
We never suggested, in any way whatsoever, that Baba Harare is not a good artist. There is no question about the fact that he is a good artist.
What our correspondent questioned was whether his music, and his stage acts, should be considered Jiti.
To then accuse us, as some people were saying, that we were on a mission to try and destroy Baba Harare is just out of order. Jiti occupies a special place in Zimbabwean music.
It is a genre built on lively guitar-driven rhythms, infectious beats and energetic dancing that have entertained audiences for decades.
For many traditionalists, these characteristics define what Jiti is, and they believe they should not be diluted simply because music evolves with time.
Yet history teaches us that no musical genre remains exactly the same forever.
Every generation of artists introduces fresh ideas, new instruments and modern production techniques while drawing inspiration from those who came before.
Genres that refuse to evolve often struggle to attract younger audiences.
What keeps them alive is their ability to adapt without losing their cultural soul. This is where Baba Harare enters the conversation.
Since launching his solo career, he has built a reputation as one of Zimbabwe’s most energetic performers.
His music is driven by lively guitars, upbeat rhythms and dance routines that encourage audiences to get on their feet. His concerts are celebrated for their energy, while many of his songs have become household favourites across the country.
His fans argue that these qualities place him firmly within the Jiti tradition.
They contend that his music captures the spirit of Jiti, even if it incorporates contemporary influences.
To them, Baba Harare is helping introduce the genre to younger listeners who may not have grown up listening to earlier generations of musicians.
In that sense, they see him as carrying the torch forward rather than abandoning it.
Critics, like our correspondent, maintain that Baba Harare’s sound blends several musical styles, making it inaccurate to describe his work as pure Jiti.
They argue that appreciating his talent does not require redefining an established genre.
In their view, preserving the original identity of Jiti is essential to protecting Zimbabwe’s cultural heritage from becoming too broad or losing its distinctive character.
Both perspectives have merit.
Cultural traditions deserve protection, but creativity should never be confined by rigid definitions.
Artists must be free to experiment and develop unique sounds, while music scholars and fans continue to document and celebrate the origins of traditional genres.
Perhaps the real question is not whether Baba Harare is a Jiti musician, but whether his music contributes positively to Zimbabwe’s cultural landscape.
By that measure, there can be little argument.
He has helped promote local languages, local rhythms and Zimbabwean dance.
His success has also inspired younger musicians to embrace home-grown sounds instead of simply imitating foreign trends.
