Zanu-PF supports the arts

Entertainment Reporter
Zimbabwe’s entertainment sector is poised for growth as a Zanu-PF Government will use assets from indigenisation to empower youths to ensure a vibrant industry over the next five years. In its 2013 election manifesto dubbed “Taking Back the Economy: Indigenise, Empower, Develop and Create Employment,” Zanu-PF says over the next five years it seeks to project Zimbabwean culture and creativity on the international scene.
“Over the next five years, the Zanu-PF Government will use assets from indigenisation to empower the youth to create a national entertainment industry with international quality to celebrate Zimbabwean culture and creativity and to project it on the international scene.

“An example of indigenisation is how the music in particular but also the entertainment industry in general has been truly
indigenised as a result of Zanu-PF’s progressive policy that requires that at least 75 percent of all broadcasting content should be local.

“The youth have particularly benefited from this policy which has seen the mushrooming of new talent which is internationally competitive.
“The success of the policy requiring 75 percent local content as a matter of law demonstrates quite clearly that indigenisation is effective,” the manifesto reads.

Needless to say, the 75 percent local content stipulated by Zanu-PF has empowered youthful musicians whose music was otherwise not being fully appreciated due to lack of airplay on radio as well as on television.

Since 2001, a number of youthful artistes joined what became to be known as the urban grooves movement, a unique Zimbabwean urban music where they showcased their talents.

From the pioneers of urban grooves in the form of Extra Large, ExQ, Maskiri, Betty Makaya, Plaxedes Wenyika, Sanii Makhalima, Tambaoga, Leonard Mapfumo, Cindy, Clare Nyakujara, Roki, Uncle Jahunda and Stunner, to the more recent artistes among them Winky D, Junior Brown, Tehn Diamond, MMT, Lady Squanda, Final Warning and Born Free Crew.

These artistes continue to enjoy the benefits of the 75 percent local content although previously the airwaves were dominated by foreign music especially from the United States.

While urban grooves had its teething problems such as sub-standard productions which found their way on the airwaves, the quality of music and productions have since improved with creative producers coming on board.

The genre is now competitive as much as the South African kwaito music, bongo in Kenya and Nigeria’s pop.
Another development which empowered the youths through the 75 percent local content drive was the introduction of national galas where the youths participated in the music extravaganza which were held throughout Zimbabwe.

The youthful musicians were so popular at the national galas that they managed to build a firm fan base making use of the live broadcast on television as well as on radio.