Online Reporter
Tafadzwa Zimoyo-Zimpapers Entertainment Editor
The unveiling of the NAMA24 nominees has achieved something rare in Zimbabwe’s arts space: excitement without uproar, debate without bitterness, and scrutiny without scandal.
That alone speaks volumes about the maturity of the process and the growing confidence of the creative industries.
At a time when global benchmarks increasingly define relevance, this year’s nominees suggest that Zimbabwean creativity is steadily aligning itself with international standards. Not yet fully there, but unmistakably on the right trajectory.
Much of that confidence was set by the tone of the nominations presentation itself. Delivered with clarity and calm authority by the board chairperson of the National Arts Merit Awards Zimbabwe, Jomo Raphael Mhone, it reflected an institution that understands both its mandate and its moment.
According to Mhone, they received over 2 000 submissions covering works produced between December 1, 2024 and November 30, 2025. There was no defensive posture, no over-explanation. Instead, the message was simple: the work spoke for itself.
The absence of the usual public outcry across most categories has been widely read as evidence of a diligent, fair and thoughtful nomination process.
As one arts practitioner observed: “When people argue about taste, but not about process, you know the system held.”
Creatively, NAMA24 distinguished itself even before the awards night through its nomination announcements.
Popular voice-over presenter Charlene Furusa took the reveal beyond the studio, delivering segments live first at the Mbuya Nehanda Statue and later at the Trabablas Interchange.
The move was praised as bold, contemporary and visually grounded in the city’s identity.
While some critics argued that it leaned towards a “Harare-centric” narrative, organisers were quick to contextualise the choice, noting that this year’s edition is hosted in Harare.
“You work with the city you are in,” said Rumbidzai Matinanga, event organiser from Scarlet Media. “That doesn’t erase national reach; it anchors it.”
In an era where awards branding is as important as trophies, the execution signalled an awareness of global presentation standards.
Perhaps the most intriguing tension lies in the People’s Choice category. Traditionally dominated by Zimdancehall sensation Winky D, this year’s list introduces a new complexity with the inclusion of Jah Prayzah. Two giants.
Two fiercely loyal fan bases. Two different artistic languages. Social media has already framed it as a clash of the “two goats” of Zimbabwean music.
What makes this year different is that the vote feels genuinely split. As one fan put it: “This is no longer a walkover. It’s a referendum on where the sound of the people is right now.” Beyond the heavyweights, other nominees in the category could quietly spring a surprise.
The People’s Choice Award has created excitement, with Comic Elder, Ritz and Prince Chigwida also in the running. Winky D won the award last year and the year before, and since he is nominated again, many believe he could win it once more. Ritz has faced backlash over her nomination in the same category as Jah Prayzah and Winky D, but history has shown that silent voters often speak loudest at the final count.
In the Outstanding Music Group category, the nomination of Joyful Praise Choir has been received with a sense of affirmation and healing. The choir has endured a season marked by internal and public challenges, yet their artistic output remained consistent and impactful. Many see the nomination as a reminder that art does not pause for storms. “Sometimes recognition comes not because the year was easy,” said a gospel commentator, “but because faith stayed visible.”
Whether they win or not, the nod itself feels like a moment of grace. They are in the category with The Redeemed Family, a stronghold, and VeRutendo, whose vocal ability has mesmerised audiences. Gospel music continues to dominate national consciousness, buoyed by what many now call “national anthem” songs.
Last year, Huya by Sharon Manyonganise Cherayi and Messiah by Michael Mahendere transcended charts to become cultural moments.
Viral across age groups, spaces and denominations, the songs blurred the line between worship and public soundtrack. Some observers argue that this cultural saturation played a role in the recognition they have received.
“When a song becomes part of the national breath,” one critic noted, “awards are simply catching up with reality.”
Beyond music, the literature and visual arts categories have drawn praise for their relevance.
Many of the nominated works were visible, discussed and exhibited between 2024 and 2025, grounding the selections in lived cultural experience.
“These are not names pulled from archives,” said a gallery curator. “These are works people actually encountered.” That visibility reinforces trust in the awards’ legitimacy.
The introduction of the fashion category marks another step towards international alignment. While some designers feel overlooked, the consensus remains that fashion, like all art, must be judged on work seen and impact made. Expansion inevitably brings discomfort, but it also signals growth.
Attention now turns to the event hosts, tasked with matching or surpassing the standards set by their predecessors. Expectations are high, and rightly so.
NAMA24 has positioned itself as a statement year.
Finally, the breakthrough artistes category promises discovery. The Outstanding Breakthrough Musician category features Junior Spragga, Atenda Chinx and Shone.
These are the names that hint at the future, reminding audiences that while icons anchor the industry, renewal keeps it alive.
In sum, NAMA24 reflects an ecosystem finding its confidence: creative, structured, and increasingly self-aware. Not yet global, but no longer provincial. And that, perhaps, is its greatest win.
Set for February 28 at the Harare International Convention Centre, the ceremony will run under the theme “Fearless Creativity”, and will see Freeman, Dino Mudondo, Vabati VaJehovha and Junior Spragga entertaining the crowd.
