Online Reporter
Zimpapers Entertainment Hub
THE Government’s endorsement of the Shekinah Gospel Awards has been met with excitement and relief.
However, a touch of scepticism still exists.
On the surface, the development marks a major win for Zimbabwe’s gospel music fraternity.
A dedicated awards platform, backed by the authorities and aligned with national economic goals, signals the recognition the genre has long needed.
Yet beneath the celebration lies a deeper question: What does this really mean for the future of gospel music — and the wider industry?
The accolades were founded by producer MacDonald Chidavaenzi.
The December 12 ceremony, which is scheduled to take place in Harare, is not just another addition to the awards calendar.
It represents a shift from gospel being treated as a “supporting category” within mainstream platforms to standing firmly on its own.
And that shift matters.
For years, gospel artistes have competed within broader awards structures, often struggling for visibility against more commercial genres such as hip-hop, Zimdancehall and Afro-pop.
The introduction of a genre-specific platform is a corrective move — one that aligns Zimbabwe with regional trends.
Across Southern Africa, gospel music has already carved out its own recognition spaces.
South Africa, for instance, has long celebrated its gospel stars through dedicated ceremonies that have elevated artistes into continental powerhouses.
Zambia and Nigeria have also seen the rise of gospel-focused awards that blend ministry with commercial success, creating sustainable careers for artistes.
This is where the Shekinah Gospel Awards carry both promise and pressure.
If executed well, they could professionalise Zimbabwe’s gospel sector, set high production standards and unlock commercial value.
But if mishandled, they are at risk of becoming just another fragmented platform in an already crowded awards ecosystem.
The Government, however, is betting on success.
Speaking on behalf of Minister of Sport, Recreation, Arts and Culture Lieutenant-General (Retired) Anselem Sanyatwe, Deputy Minister Emily Jesaya described the initiative as a sign of “growing maturity” within the creative sector.
“Your vision to establish a platform that upholds high standards, consistency and excellence within the gospel music industry is both timely and necessary,” she said.
She further framed the awards as part of a bigger national agenda.
“Through platforms such as this, we are witnessing the formalisation and elevation of gospel music into a structured, competitive and economically viable sector.”
That alignment with the National Development Strategy 2 is crucial.
It places gospel music within Zimbabwe’s broader economic conversation — not just as culture, but as commerce.
National Arts Council of Zimbabwe chief executive officer Napoleon Nyanhi echoed the sentiment, linking the awards directly to job creation and sustainability.
“We are particularly encouraged by how initiatives such as this anchor into the job creation pillar, transforming artistic excellence into tangible economic opportunities,” he said.
Still, industry players are asking harder questions.
One of the biggest debates emerging is the relationship between genre-specific awards like Shekinah and mainstream platforms such as the National Arts Merit Awards (NAMA).
What happens, critics ask, if a song wins the “Gospel Song of the Year” award at Shekinah, but fails to make the cut — or even be nominated — at NAMA?
Does that mean the song was not good enough? Or does it expose inconsistencies in judging standards?
Local music critic Marshall Shonhai believes this could become a defining issue.
“We are happy gospel is finally getting its own platform — it is long overdue,” he said.
“But there has to be alignment in standards. You cannot have a song celebrated as the best in one space and then ignored in another. That creates confusion.”
Gospel singer Sharon Cherayi welcomed the initiative, but called for caution.
“This is a beautiful step for us as gospel artistes. We feel seen,” she said.
“But we also want our music to compete at the highest level. If we win here but do not qualify elsewhere, people will start questioning the credibility of the awards.”
It is a delicate balance.
On one hand, genre-specific awards allow for deeper appreciation of gospel music’s unique elements — its message, ministry and spiritual impact.
On the other, they risk isolating the genre from mainstream benchmarks of musical excellence.
Organisers may need to “take a leaf” out of neighbouring countries.
In South Africa, gospel awards coexist with mainstream platforms by maintaining rigorous judging criteria, strong corporate backing and clear alignment with industry standards.
Winning a gospel award there does not diminish an artiste’s chances at broader recognition — in fact, it often strengthens them.
For Shekinah Gospel Awards, the lesson is clear: Credibility will be everything.
Chidavaenzi appears aware of the stakes.
“It is not just about celebrating excellence or handing out trophies,” he said.
“We are building a culture that honours where we come from, where we are and where we are going.”
His vision goes beyond glitz; it is rooted in identity and legacy.
At the launch, he raised the alarm over what he described as a growing disconnect between current artistes and gospel pioneers.
“Over 80 percent of artistes could not name a song by Brian Sibalo. That is alarming. It shows we are losing our history,” Chidavaenzi said.
“Gospel music is more than melody — it is a mandate.
“We are not chasing fame, but the presence of God.”
Yet even as spirituality remains central, the business side cannot be ignored.
Nyanhi underscored the importance of corporate investment, warning that sustainability will depend on strong partnerships.
“To produce an awards ceremony that meets world-class standards requires significant financial investment and strategic collaboration,” he said.
That call to corporates is critical. Without funding, even the most visionary platforms can collapse under the weight of expectations.
Ultimately, the Shekinah Gospel Awards represent both an opportunity and a test.
An opportunity to elevate gospel music into a structured, respected and economically viable sector.
A test of whether Zimbabwe’s creative industry can build credible, sustainable institutions that align across platforms.
As December 12 approaches, anticipation is building — and so is scrutiny.
Because in the end, it will not just be about who takes home the trophies.
It will be about whether the awards can deliver consistency, credibility and impact not just within gospel circles, but across the entire music industry.
If they succeed, they could redefine the trajectory of gospel music in Zimbabwe.
If they fall short, they are at risk of becoming another well-intentioned idea that failed to harmonise with the bigger picture.
Either way, one thing is certain: The conversation has begun and the gospel industry will never be the same again.
Peter Tanyanyiwa