Goodbye 2016, we will remember you

Bruce Ndlovu
When one mentions the arts in 2016, the word economy is likely to come up several times.

A sluggish economyaï¿½ï¿½s hand was felt in the arts as it was in every sphere of Zimbabwean life, as what transpires in the halls of banks and stock markets adversely affected the bread and butter of most artistes save a few.

As wallets dried up, the pinch was felt by artistes who had to make-do with crumbs as belts tightened,Aï¿½ making the purchase of their albums or attendance at their shows a deficit to requirements.

However, despite all the doom and gloom, the countryaï¿½ï¿½s artistes managed to cobble together a few moments of genius with the little that they had.

Nothing was more indicative of the year than the struggles the countryaï¿½ï¿½s musicians went through for most of the year.

With everyone in the industry resigned to the fact that money from royalties has all but dried up, live performances were all that artistes had in a changing, technology driven world that seemsAï¿½ determined to leave them thirsty despite all their labour.

2016 however, was the year that this oasis also seemed to dry up for the countryaï¿½ï¿½s musicians, with most people choosing to stay away from shows as the cash crisis, among other problems, meant that people reserved their cash for the bare essentials, with money for live performances simply not being one of them.

In Bulawayo, the likes of Alick Macheso, Oliver Mtukudzi, Patricia Majalisa (who failed to attend her show as advertised) Sulumani Chimbetu and Nathi failed to attract blockbuster crowds despite the fact that they all have a considerable following in the City of Kings.

Slapping a big name on a poster simply could not do, as people instead went for those shows that promised them something unique, opting for a taste of the unknown than the tried and tested.

The Castle Lite Block Party, Babongile Sikhonjwaaï¿½ï¿½s train party in Bulawayo and what was touted as the countryaï¿½ï¿½s biggest braai in the capital all attracted stellar crowds.

However, while others suffered, with their fortunes seemingly glued to the fate of a suffering economy, a few artistes managed to prosper.

2016 was the year that Jah Prayzah and Winky D cemented their places as the countryaï¿½ï¿½s most bankable stars, coining it whereverAï¿½ they went around the country.

The two made a mockery of the low expectations in the country this year, attracting crowds that a full roster of other artistes could hardly hope to pull. Such was their dominance in what was otherwise a barren year.

With all the stars releasing albums, some hit while others missed, as the countryaï¿½ï¿½s musicians scrambled to salvage what was otherwise a difficult year.

The countryaï¿½ï¿½s film industry made tentative steps towards recovery, but all in all it was another dismal year for film practitioners.

The countryaï¿½ï¿½s ongoing digitalisation programme saw a few strides being taken towards recovery by an industry whose suffering seems to have intensified over the past few years.

Through the programme a few artistes managed to kick start their projects and in the process gave hope to the countryaï¿½ï¿½s talented new crop of small and big screen performers whose talents would otherwise rot away unseen and unacknowledged.

The Selmor Mtukudz-powered Eclipsed was a beacon of light in an otherwise dark year, with the movie proving that the country still has film-makers worth their salt.

On the small screen, Arthur Evans was perhaps the success story of the year, managing to land a coveted slot for his show on Zambezi Magic, while Diamond Boy, Munya Chidzonga showed the years after his famous Big Brother Africa stint, he could still glow brighter than most of the countryaï¿½ï¿½s acting stars.

In Hollywood, Danai Gurira and and Tongayi Chirisa continued to fly the Zimbabwean flag among the worldaï¿½ï¿½s elite performers.

The countryaï¿½ï¿½s award ceremonies were largely a sorry tale, with the organisers of these events failing to provide the glitz and the glamour than some have come to be expected from such events.

Nothing came from the Zima awards than scandals and the gnashing of teeth while the Nama awards, although better organised, failed to deliver the fireworks some would have expected from the countryaï¿½ï¿½s biggest award ceremony.

For the pageants, 2016 was a mixed bag. After years of being dogged by scandals, mostly from nude pictures that seemed to miraculously surface was a crown was on a winneraï¿½ï¿½s head, Miss Zimbabwe could not hold the countryaï¿½ï¿½s headline modelling event this year. While the organisers claimed that this was due to a shortage of suitable candidates, conspiracy theories about the real reason for the failure to host the pageant abound, with some gossip mongers claiming that this was due lack of finances.

The Miss Tourism gig that came at the end was the polar opposite of the shambles that defined Miss Zimbabwe.

The glitzy affair seemed like a mockery of the poverty that otherwise defined the countryaï¿½ï¿½s year in showbiz. When all is said and done however, there was no shortage of artistic excellence despite the tough year that the country experienced.