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Zora beat has endeared him to multitudes of fans across political divides. Only last month, after a four-year silence, the lyrical wordsmith came out from his cocoon and released an album, Gotwe to further cement his existing relations with his fans. Entertainment Editor Ruth Butaumocho (RB) talks to Zhakata (LZ) on his life and music . . .
RB: You are fitter and trainer by profession, how then did you venture into music?
LZ: I started composing at 12, so I was a musician before I became a fitter and turner.
RB: Many fans say Zhakata plays Zora music, and I am not sure whether, they really know what, what Zora music means?
LZ: Zora is a genre that I founded and named on realising that the Original Rhythms of Africa share a lot in common, but ours is done in a Zimbabwean style and, of course, I do mine the Zhakata way. The letter “Z” stands mainly for Zimbabwe and also for Zhakata, but any Zimbabwean musician can call his or her music “Zora”.
RB: In 1994, you became the youngest Zimbabwean musician (at the age of 26) to sell more than 100 000 copies, from the album “Maruva Enyika”, that contains the smashing hit “Mugove”. In what way did your life change from the album sales?
LZ: I became a recognised musician, it gave me hope and courage, and it also strengthened the ground on which my career stood.
RB: You once held a show in 1995, in the UK, with the Famous Seven, which unfortunately did not do well. Have you gone back since then?
LZ: Let me correct you on that one. I first went to the UK with my late cousin (Thomas Makion) in 1992, yes we were backed by the Famous Seven Band, which was fronted by the late Stabben Mawire. However, this is one of my most successful tours to date, the 13-show tour was well organised, well attended except for one at Tottenham Green Hall in London. The rest were either full to capacity or above average. Yes, I have been to the UK and other European countries several times, almost on a yearly basis with the last being Germany.
RB: Can you tell us what the wrangle was all about between you and the Zimbabwe Music Corporation, a recording company that released most of your albums, and did that affect any of your musical projects?
LZ: It was not as portrayed. Let me say it was just lack of commitment shown by inaction on their part yet they were partners in this and one would expect frank and transparent business practice. However, we continued to engage each other because we have other albums that tie us together and things were being done in the spirit of family hood. But obviously once reported by a third or fourth informant, information gets either distorted, exaggerated or it completely goes out of sync with reality. Yes, we are still partners and it is not surprising to find them releasing my music in future.
RB: For some time, there were reports that you had switched to protest music. Can you explain the general message contained in your new album, “Gotwe”, which apparently has been well received and is doing well?
LZ: My music never changed its core themes. It has been and shall always be social commentary and like all other previous albums “Gotwe” touches on our values and aspirations, our past, present and future, inspired and spiced by the daily events in our neighbourhoods. Zora music is generally the Zimbabwean life in tune and “Gotwe” is no exception.
RB: For more than two years you have been actively involved in assisting the less privileged members of society by holding free workshops for aspiring musicians and poets in the rural areas. Can you tell us more about the project?
LZ: The media influences people’s minds and perceptions towards anything especially personalities and when sections of the media launched an onslaught on my person and career. I realised that I heard no muscle to repel the onslaught that was ignited by competition and corruption in the music sector as well as a change of the political landscape in our country. It was unfortunate that this very important stakeholder (the media) failed to save creative artistry instead went full throttle thereby polarising the whole nation in the process. On finding that there was no room for me to explain my position, I then chose to slow down on the competitive stage and participate in low profile musical activities. Thus I found this to be most appropriate time to give back to the community that supported me through thick and thin by assisting aspiring musicians. While the goals are not fully achieved yet, we are happy to have shared a slice with the community.
RB: Piracy has since been described my many artists as a cancer that is slowly eroding their efforts. How badly have your music been pirated and what do you think is the solution on the problem of piracy?
LZ: While technology is good for us all, but with regard to music in some way it has brought more harm than good. However, I am surprised by the lack of commitment by authorities in trying to harness this terminal disease that threatens our creativity. I wish I had the loudest voice, indeed I would shout from above so that everyone might understand how we are destroying our culture, our own national identity. Everyday we witness our “intellectual property” being stolen and no one bothers to listen except our dear minister, Honourable Webster Shamu. His lone voice talks about the plight of musicians. But if the police can go on operation “Chipo Chiroorwa” or “Operation Nyama Yabvepi”, why can’t someone tell them to do an operation that saves our intellectual property?
The most shocking is the Arts and Entertainment sections of the media. One would expect them to take lead in the campaign against piracy, instead of adopting the so called PHDs (Pull Him/Her Down syndrome), persecuting the already poor musician. How much would the Government get today if people are made to pay a fine of just a dollar for every pirated (stolen) song. How many pirated songs do we find in a single household, in one vehicle or in one mobile phone? Sometimes our parliamentarians are at each other’s throat over motions that do not serve their constituencies at the expense of their cultural identity and our intellectual property, because they prioritise things that give them political mileage.
RB: Despite the negative publicity you have been getting in the media, you have kept a low profile and have remained humble, while building your profile quietly. Where do you draw your strength?
LZ: I am a true patriot, a peace lover and a concerned citizen. I adore heroes of many disciplines and have noted that none of them got their status on a silver platter. If you choose to serve the people, so then be prepared to get hurt along the way, and be prepared even to die for their cause, but seek no revenge. Instead embrace those who do not understand you for they will end up your comrades.
RB: You are well known for dressing in very flamboyant outfits, when on stage and you were at one time likened to Wacko Jacko (the late Michael Jackson). What inspires your dressing?
LZ: The stage is the centre of attention and as such everyone who attends a musical show would want to witness the goings on and bright colours make it easy for all to see. But, of course, but I cannot rule out Jacko’s influence in our dressing. In fact, Makion was a better dancer than me. He could imitate Jacko like nobody’s business, so he was very instrumental in our costumes then.
RB: Apart from music, how else do you earn your living Mukoma?
LZ: Ndinongokiyakiya hanzvadzi (I just hustle, in order to survive)
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