Online Reporter
THE discontent within Alick Macheso’s camp following the sidelining of sungura music at the National Arts Merit Awards (NAMA) has once again ignited an important conversation about recognition, fairness, and the place of Zimbabwe’s most popular local genre within the country’s biggest arts awards platform.
For decades, sungura has been one of the defining sounds of Zimbabwean music.
From packed shows across the country to loyal fans who travel long distances just to see their favourite performers, the genre has proven its staying power.
At the centre of that dominance has been Macheso, affectionately known as “Baba Sharo,” whose influence on the genre is unquestionable.
Through albums, live performances and mentorship of younger musicians, he has helped keep sungura vibrant and relevant.
Yet the frustration now coming from his camp highlights a sentiment that has quietly grown over the years — that sungura is often overlooked when the industry gathers to celebrate its finest talent.
Critics of the awards argue that the popularity and cultural impact of sungura are not always reflected in the accolades handed out at NAMA.
When artists, who consistently fill venues, dominate radio playlists and command massive audiences appear to be sidelined, fans naturally begin to question the selection criteria.
Macheso’s supporters believe the issue is not just about one artist but about the broader recognition of the genre itself.
Sungura has produced countless classics and has carried Zimbabwean music across borders for decades.
Ignoring or underrepresenting it at a prestigious platform such as the National Arts Merit Awards risks creating the perception that certain genres are more valued than others.
However, the debate also opens up a wider discussion about how awards are judged. Artistic recognition is rarely a simple matter of popularity alone.
Panels often consider innovation, originality, impact and the diversity of creative expression.
In that context, judges may feel compelled to spread recognition across different musical styles rather than consistently rewarding one dominant genre.
But this is where the delicate balance lies.
When an awards ceremony loses the confidence of major segments of the music community, its credibility inevitably comes under scrutiny.
Fans of sungura form one of the largest music audiences in Zimbabwe.
Their voices, and the concerns of artists who represent them, deserve to be taken seriously.
The frustration expressed by Macheso’s camp should therefore not be dismissed as mere sour grapes.
Instead, it should be seen as an opportunity for reflection by the organizers of the National Arts Merit Awards and stakeholders in the arts sector.
Transparent judging processes, clearer category definitions and broader representation in adjudication panels could help restore confidence in the system.
The enduring connection between sungura musicians and their audiences is something no trophy can fully measure.
For Macheso, his legacy is already firmly secured.
Stadiums still fill when he performs, younger musicians still cite him as an inspiration, and sungura continues to thrive on dance floors and stages across the country.
Whether honoured at NAMA or not, the rhythm of sungura remains deeply embedded in Zimbabwe’s cultural heartbeat — and that is an award no panel can ever take away.
