Zim dancehall tilts scales

Nkosilathi Sibanda
FOR a long time, we have tried to define Zimbabwean music much to our weariness. No conclusion has been reached. Our music darts anywhere, with different descriptions — some sensible while other definitions are weird.

At some point, Zimbabwean music was called sungura. This was when sungura ruled the roost. Followers of this chord still, in agreement, view the genre as the most appropriate to describe music originating from the motherland.

Quite understandable it is, given the popularity of musicians that play this type of music. Music charts also give ample evidence that sungura and the museve styles are for a lifetime going to define the broader musical landscape.

Soon after the sungura craze, there was the pumped up hype on the urban grooves genre. What a relief it was for young listeners who make up the bulk of showbiz followers. It did not take time for radio presenters, music producers and opinion makers in the showbiz sector to label urban grooves as purely representative of Zimbabwean culture. But what is typically Zimbabwean? That question also falls in the realms of sungura listeners. Are the two genres archetypical Zimbo music?

Not to be outshined are the marabi and jazz singers as well. The jazz culture has also been on the debate table with critics questioning the many and confusing descriptions of “Zimbabwean jazz”. If so, how does one settle for a definition of Zimbabwean music, when in grave fact music is universal?

The underlying factor is that no music genre can have all honours of being called a Zimbabwean beat. Of course art pundits may point out the aspect of instrumentation, lyrics and a whole lot of rebuts, but the conclusion is that no music genre is grander than the other. Music has no politics. It is only the ratings that speak.

Now that Zim dancehall has taken over, can we say this is the genre that best describes Zimbabwean music? All over the land, music players belt out these ragga songs. The influence is largely drawn from Jamaican reggae dancehall. That cannot be disputed.

I am sure it has been two years since Zim dancehall made a real brand on the showbiz. The number of musicians chanting in this rhythm is on the rise. So are the fans too. Never in my short musical experience have I witnessed such a huge musical following that transcends borders.

Other genres have been well appreciated outside the country but Zim dancehall is “flying off” the charts with requests as far as Germany and Australia. The comparison with some genres that have influenced music culture brings out Zim dancehall as the trendsetter of all time. This is guided by the Zim dancehall fan base. Commercial TV stations like Channel O want as much of the genre. That is no lie. Tune into the station, you might see a local chanter’s video.

It also explains that Zim dancehall has been so successful in global music distribution, even in music cultures that are known not to be receptive of music from elsewhere. What makes this reggae-inspired type of music persuasive is that it is done by young artistes, mostly from the disadvantaged sections of society. The irony is that even powerful figures in our midst are diehard fans. At least Zim dancehall brings politicians and business tycoons to the same table with the poor and marginalised. If you are lost on this one, please pay attention to the lyrics.

Just like any narrative that talks of social injustice, Zim dancehall has upped the scale and put serious debate back to the core. There is no need to name artistes and the songs that carry heavy alignment toward social change. The sungura greats sang of such, but Zim dancehall has won the hearts of many.

Do you find it awkward that your grandparents play Zim dancehall on their car radio? It must not be a shame. There are as many Zimbabweans across the divide who listen to this music. Some may find it hard to believe that Zim dancehall has shifted the scales of music culture because they are not paying attention. Without enough funding, amid the ridicule and resistance, music followers have seen Zim dancehall growing. The musicians will attest that money has not been realised. What is commendable at this stage is the debate that has been created by the young creatives.

Like all things under the sun, only time will define how great Zim dancehall is to be. With as many genres at the fans’ disposal, not one qualifies to describe Zimbabwean music. The case rests with what is popular at the time. One fan’s choice is tasteless to another, yet it is always the current cultural trends that speak volumes.