adminTafadzwa Zimoyo Senior Arts Reporter
Talent search platforms serve the nation in identifying and promoting different genres of art.
The likes of CBZ A Academy, a competition that ran for a couple of years in the process introducing the nation to amazing talent in the form of Joyous Celebration’s Mkhululi Bhebhe.
Then came Starbrite, an annual talent search show that has brought many potential stars to the spotlight.
There is also the annual Chibuku Road to Fame Show, arguably the biggest music competition that has run for close to two decades.
The programme was initiated by National Arts Council of Zimbabwe (NACZ) in partnership with Delta Beverages to create a career launch pad for musicians.
The well-funded platform searches for musical talent across the country through provincial and subsequently national competitions.
In the past years, thousands have been spent on making sure the competition is successfully held, and successes have been recorded on hosting memorable events.
It has been good for artistes with winners pocketing large sums of money and sweet recording deals.
The bitterness of the competition comes when the promised “fame” as suggested by the competition’s name then fails to materialise.
Who knows anything about Identity Band, who won the competition last year?
Very few like sungura singer Romeo Gasa have gone on to gain popularity after winning at the show.
One may then wonder how, after so much is invested in the competition, it has failed to produce top musicians in the country.
After winning, like in all the other talent search platforms, there is serious lack of follow ups on the organisers’ part.
Yes, a record deal is sweet and of great help to a musician’s career, but when the product is not well marketed, the project will not make it.
In 2001 when Chibuku Road to Fame was introduced, recording was expensive, but the mushrooming of many studios even in backyards has changed the game altogether.
It’s no longer about recording, but managing to push one’s work if a musician is to be successful.
Many musicians have owed their big breaks to collaborations, something organisers should consider initiating for their winners.
If they can afford to pay top dollar for renowned artistes who perform at the competition’s national finals, then they can surely afford to pay for collaborations.
A big company like Delta Beverages hosts several events each year through its different brands.
One then wonders why not always put their winners on such programmes so that they can shine, grow musically and achieve the much lacking fame.
They also run many advertising campaigns for the same brand, Chibuku, which they use as name sponsor to the competition, an opportunity to make the winners brand ambassadors or even get them perform at their various promotions for the brand.
The competition has been replicated in Zambia and Malawi, why then not initiate collaborations with winners from other countries to grow the reach of wining musicians?
Why not have them tour the neighbouring countries when they run their own competitions?
After investing large sums, one needs to see the fruits thrive, when they then wilt, the investment fails to serve its purpose.
Given the obscurity of last year’s winners Identity Band, one would hope for organisers to finally get it right and help launch careers of the musicians.
Peter Tanyanyiwa
Online Reporter