Online Reporter
Mthabisi Tshuma, Zimpapers Arts and Entertainment Hub
LEGENDARY percussionist Ebba Chitambo, best known for his work on the hit song Watch Out with the 1970s band Move, believes there is an urgent need to revive youth clubs in order to rejuvenate the Cultural and Creative Industries (CCIs).
During the late 1960s and 1970s, at the height of Zimbabwe’s liberation struggle, the white settler government introduced arts centres — commonly referred to as youth clubs — which served as key platforms where young people were trained in both sport and the arts.
In Bulawayo, youth centres such as Silwane Youth Centre in Old Pumula, Indlovu Youth Club in Tshabalala, Luveve Youth Centre, Tshaka Youth Centre in Makokoba, Iminyela Youth Centre at Number 6, Lobengula Youth Centre, and Magwegwe Youth Centre were known for their vibrant cultural and recreational programmes. In Harare, notable venues included Amai Musodzi Hall, CJ Hall, and Stodart Hall, while Ngoni Hall served a similar purpose in Norton.
These centres nurtured some of Zimbabwe’s most iconic musical talents, including Lovemore Majaivana, Dorothy Masuka, Don Gumbo, Black Umfolosi, Sunduza Boys and Oliver Mtukudzi, among others. The sporting world also benefited, producing stars such as Langton “Schoolboy” Tinago (boxing), Artwell Mandaza (athletics), and the Chieza family from Mhangura (football).
Additionally, the country’s music landscape was shaped by luminaries like Safirio Madzikatire and Susan Chenjerai.
Chitambo, who rose to prominence through these youth clubs, was a member of several internationally recognised bands, including the Movers, High Courts, and Wells Fargo, before leading the Friends Band.
Speaking to Zimpapers Arts and Entertainment Hub, Chitambo said it was time to bring youth centres back to life, as they once played a critical role in shaping artistes and sports personalities.
“I think youth clubs need to be revived, as they were the breeding ground for many musicians, athletes, and sports personalities. I grew up in Pelandaba, and I’m a product of the Bulawayo City Council youth clubs; that’s where I learnt music.
The club had everything an artiste could wish for: sports, music, drama — you name it. Each township had a youth club, and we’d regularly compete with each other in music, football, tennis, and other activities.”
He recalled the atmosphere of the time, when community halls hosted live bands, even though children were not permitted entry.
“When we were growing up, bands used to play at the halls, but kids weren’t allowed at those shows. Still, we’d watch from a distance — and we loved it,” he said.
Chitambo said his career began in one of those halls, thanks to a twist of fate that led to him joining the Movers band.
“I joined the Movers after some of the guys spotted me at Pelandaba Hall. One weekend, they came to perform there, but their drummer turned up drunk and couldn’t play. The audience had already paid, so cancelling wasn’t an option. The group asked if anyone in the crowd could play drums and I volunteered.
I had never played drums in my life, but somehow, I managed to hold my own. I played four or five songs, then I ran off,” he laughed.
Looking back, Chitambo said there was an abundance of opportunities for artistes during that period, with one of his proudest moments being the chance to open for UB40.
He also reflected on a memorable brush with reggae icon Bob Marley during Zimbabwe’s inaugural Independence Day celebrations in 1980.
“We met at Skyline Motel, where we used to play. The Wailers were staying there, and Bob was in and out. The place was full of ex-combatants. Yes, it was great meeting him, but he was always in a rush. Still, we got to hang around with the rest of the guys,” he said.
Comparing the music scene before and after Independence, Chitambo said the sector was vibrant and competitive.
“Before Independence, the music industry was thriving. There were more than 20 bands in Bulawayo, and almost every bar, club, and hotel featured live music every day.”
He said companies also supported the industry through sponsorship and product promotions using live bands.
“Companies used to sponsor music shows and hire bands to promote their products,” he added.
Chitambo noted that after Independence, more opportunities emerged for musicians, especially in terms of touring and access to media.
“Post-Independence, a lot of doors opened, particularly for travel and recording. Before that, it was difficult for a black band to appear on television.”
He acknowledged the dual impact of the internet on the industry.
“The internet made it easier for young people to learn, which is great — but it also disrupted the recording industry. That’s when piracy began to flourish.”
— @mthabisi_mthire
