Nisha Ts tackles gender inequality

Trust Freddy-Zimpapers Entertainment Correspondent

WHILE much of the local music industry, particularly Zimdancehall, has been criticised for promoting drug abuse and objectifying women, a refreshing voice has emerged to challenge the norm.

Anisha Tashinga Shonhiwa, better known as Nisha Ts, an Afro-Dancehall artiste has captured the nation’s attention with her powerful song, “Gender iyi”, from her album “Gender iiH (King Women)”.

The song has become a hit not for its beat, but for its raw and honest message that has reignited a much-needed conversation about gender inequality.

For many, the song is a painful reminder of their own struggles, and women in their late 30s are using the track to share emotional videos online, revealing that being single is often a circumstance beyond their control.

The song challenges the patriarchal society, which has continued to segregate women despite people now advocating for a 50-50 In the opening, she starts by questioning why girls are not allowed to have a bicycle, which they ride and enjoy, unlike boys.

“Kubva ndichikura bhasikoro rainzi harichovhwe nemunhukadzi (since my birth, I was told that a woman should not ride a bicycle),” she starts with another well-known rule imposed on women.

Societal pressure is also a recurring theme in the lyrics, as she describes her own experience with the stereotype that an unmarried woman is seen as undesirable.

The lyrics, “Kunonoka kuroorwa waita seukunhuwa,” which translates to “If you delay getting married, you become like someone who smells,” powerfully captures the idea that a woman who isn’t married early is viewed as unappealing or even repulsive to society.

She goes on to say a woman is also a human being, like a man and has her own dream that she wishes to fulfil.

Nisha Ts traces back where the challenge begins, and she begins by questioning why a baby gets only a doll and never gets a car as a toy, and she immediately poses the question: does it mean that a girl is only meant to give birth and is not allowed to have tangible things to do in life?

“Munhukadzi munhuwo ane zvaanorota, pamatoy votenga zvidhori hapana motor saka changu kubara here . . . which loosely translates to “A woman, too, is human and has her dreams. When they buy toys, they buy her a doll, not a car. Is my sole purpose, then, simply to bear children?

“She also goes on to point out that women’s constant tears are a direct result of the oppression they endure. She powerfully draws a parallel between their struggles and “Mumhare,” a term for cooked and dried maize kernels, suggesting that suffering is as fundamental and ever-present in their lives as this staple food.

“Kakawanda kacho inogara ichichema gender iyi, munotiomesera sechibage chemumhare,” “Women are always complaining, and you’re making our lives as difficult as dried maize kernels.”

These hardships, she says, are just the tip of the iceberg, adding that a great deal is happening behind the scenes, suggesting that many more women are suffering in silence.

”Chakafukidza dzimba matenga” (What covers houses are the roofs), she repeats this Shona proverb that signifies that there are private issues, problems, or matters that occur within the domestic sphere of a household, remaining hidden or secret from the outside world. Through the repetitive line, “Mudundundu zviri mudundundu” (it’s in my heart, it’s in my heart), she also conveys the silent suffering women often endure.

Nisha T also touches on the societal issue of girls’ education not being prioritised, saying, “Chikoro handina kupedza ndakaroorwa muguta” which means, “I didn’t finish school, I got married in town.”

The song then details the difficulties of this marriage, where the woman feels like a single mother because her husband is often with his mistress. She describes this in the line, “Small house iri ku Chisipite, vanotodzoka ndatoparidza phone ngiriri,” which translates to, His “small house” (mistress) is in Chisipite, he only comes home when I ring his phone.”

Nisha then goes on to portray how some girls’ education is not prioritised in some societies, “Chikoro handina kupedza ndakaroorwa muguta (I did not complete school, I got married in town) Immediately, Nisha Ts then introduces a different voice — that of another woman who, despite her hardships, envies the first woman’s situation.

This second woman was divorced by her husband because of her illiteracy. She was mocked for being uneducated and treated poorly, even being given the worst food.

This is captured in the lines, “Imi zvenyu zviri nani amai bhoyi, ini ndakadzingirwa mubani, ndichidyiswa nezumbani ndikanzi dai wakadzidzidza waita plan,” (Your situation is better, Mai Bhoyi. I was chased from our matrimonial home and forced to live in a wetland.

He would feed me with vegetables, telling me that if I were educated, I could have found a way to take care of myself.” Nisha Ts also touches on the restrictive societal expectations for women.

She notes how some men prevent their wives from working, fearing they might have extramarital affairs or become a financial threat. Within the home, where men prefer women to stay, the singer reveals the oppressive rules women face. “Kupisa poto kunorovesa, kana kubata phone kunorovesa ,” this is what she says in her last verses.

She says if a woman burns food its a serious offence that requires some beating and then goes on to mention another punishable offence where she suggests that men don’t want to give their wives their phones and they are not allowed to touch it.

“This is a song that I think must trend, especially for feminists, as she wrote serious lyrics and championed the women’s cause. Unfortunately, the message might not be given the attention it deserves,” @Tadiwa Kambiri, Nisha Ts fan posted on her Facebook account reacting to the song.

“I love how “Gender Iyi” is sparking conversations,” a Social commentator Raynald Ngwarati said.”

A male perspective or collaboration could have added depth, perhaps with a message of accountability or apology. Since the song is a protest, hearing a male response could have been impactful.

“However, I am happy to see Zimdancehall evolving towards meaningful content that will stand the test of time.”

Her song also echoes findings from the 2023-24 Zimbabwe Demographic and Health Survey.

The survey revealed that 40 percent of women and 27 percent of men in Zimbabwe believe a husband is justified in physically abusing his wife for reasons, including burning food.

“So it’s heartening to see artistes like Nisha Ts using their platform to spark meaningful conversations and inspire change.” For Vanessa Imbayago, the song brings relief to women in the same predicament.

“When you are in this situation, it brings relief because you get to know that you are not alone,” she said.