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Trust Khosa
DUB-POET, writer and arts administrator, Albert Nyathi, has reignited debate on “Fame and Fortune” in his thesis which earned him a Master of Philosophy degree in Ethnomusicology from Midlands State University (MSU).
He was among 6 479 graduates who were capped by President Mnangagwa last week at MSU’s main campus in Gweru.
Nyathi’s thesis titled “Intersections of Fame and Fortune: The Socio-economic Realities of the Zimbabwe Music Industry”, earned him another feather in his cap.
He indicated that he was studying for fun in his post which read:
“Just graduated at MSU (21/11/24), with a Master of Philosophy Degree in the Faculty of Social Sciences — Department of Music, Musicology and Technology.
“My thesis is entitled Intersections of Fame and Fortune: The Socio-economic Realities of Zimbabwe Music Industry. Studied just for fun. Enjoyed the study though. Interesting findings about popular musicians or artists.”
While Nyathi studied for fun, his topic bears relevance to the local music landscape which has seen many artistes wallowing in poverty, despite the fame they enjoyed at their peak.
Yesteryear musicians including Patrick Mkwamba, Peter Tangwena and Job Mashanda instantly come to mind whenever this debate is tabled.
There are even some artistes who were given paupers’ burials despite being household names at their peak.
This has left many fans wondering why fame and fortune do not match as widely assumed by the public.
Nyathi, who has seen it all as a performer and administrator, reckons that a lot needs to be done to change the fortunes of artistes in his thesis.
In his abstract, Nyathi noted that a lot of education was needed to empower most musicians who are strangers to professionalism.
The study recommends that popular musicians sign lucrative contracts, conduct business in a professional manner, and get health insurance and life assurance to sustain themselves when their heyday is past.
Furthermore, popular musicians are encouraged to establish a culture of investment as a fall-back strategy to cushion them during times of adversity,” said Nyathi’s thesis.
The dub-poet challenged artists to embrace technology in this era of digitalisation.
“The study reveals that the socio-economic welfare of some popular musicians is undermined by weak business management practices, a fragile macro economy, exploitative recording and performing contracts, and exploitation by some business people; copyright violations and artists’ reluctance to exploit digital platforms, leading to absence from internet platforms.
“The study further revealed that some artists are earning little because the traditional method of selling music through CDs is no longer viable.”
Nyathi noted that a change of mindset was needed to make music a viable business as compared to other countries overseas.
“In developed countries such as the United States of America (USA), music has been appreciated and taken as a career that one can rely on.
“Both musicians and listeners appreciate music and have positive perceptions (Tivenga, 2018).
“Musicians such as Beyonce, Sir Elton John, Whitney Houston and Michael Jackson have made it big in showbiz.
“With the advent of advanced music technology, musicians with prosperous careers are realising a lot of wealth through marketing their music. Pratt (2007) noted that in developed countries musicians and music companies, especially those who perform western music, make phenomenal amounts of money.”
He also noted that the sector was evolving and there was a need to take music seriously.
“As observed by (Professor) Zindi (2003) the music industry in Zimbabwe has evolved with time and it is now a big business in that it employs a large number of people.
“Musaemura Zimunya (Pers comm., 25 June, 2023), remarks that the maskandi era marks the entry of the box guitar in Southern Rhodesia and it was popular in the urban, mining towns and rural areas as well as on the inter-town trains.
“It was played by solo musicians who were mostly self-taught and influenced by the sounds of the Zulu guitar styles from South Africa,” he said.
Nyathi said a few artistes like the late Oliver “Tuku” Mtukudzi earned a living from music while the rest are/were struggling to make ends meet despite being famous musicians.
“Because of the progress made by the lucky few popular musicians such as Lovemore Majaivana, Don Gumbo, Busi Ncube, Thomas Mapfumo, Oliver Mtukudzi, Solomon Skhuza, The Bhundu Boys, The Four Brothers, Leonard Dembo and John Chibadura, in Zimbabwean society, there is a perception that popular musicians are rich or are supposed to be rich and they live or are supposed to live luxurious lives.
“Contrary to this perception, (Ruth Butaumocho) (2011) reports, for example, that Big Tembo’s phenomenal rise and fame saw him share the stage with Madonna at Wembley Stadium before a 250 000-plus audience in 1987.
“His widow was reported to be squatting in a two-roomed cottage with no electricity in Snake Park and surviving on selling sadza.”
Nyathi’s thesis, which seeks to establish reasons why some famous musicians remain poor despite their fame, has come at the right time when fans are finding it hard to believe this phenomenon.
The Covid-19 era, which saw most musicians living from food handouts, came as a blessing in disgust as most artistes ended up investing in diversifying.
Laying eggs in one basket has proved costly for the music industry as artists are living from hand to mouth.
Nyathi’s thesis encourages musicians to diversify and invest in other areas.
Online Reporter