Dancehall, a popular
type of music originated in the late 70s in Jamaica as a result of varying
political and socio-economic factors has found roots in our own Zimbabwe particularly
in high-density suburbs, otherwise known as ghettos. Such suburbs are believed
to be hotbeds of violence and other social ills, apart from being traditionally
populated by society’s poor. This genre has cut across age groups threatening
to overtake the other genres in the country.
In the years gone by,
celebrating Christmas at my rural home was not complete without having gone to
the township and glide to the Sungura hits played at the townships.
Sounds of the late
Sungura gurus - Leonard Dembo, System Tazvitya, Tongai Moyo, Pengaudzoke and
self-proclaimed King of Sungura Alick Macheso among others - would keep
revelers serenading the whole day.
However, over the
past two years, the situation is a different one. It’s the popular clichés – Po
po po, Hauite hauite hauite, Check check check - that have become national anthems
at growth points or in kombis and personal vehicles and is sending youths and the
old alike into delirium.
Believe me you, the
sprouting of this genre has come as a source of income for many and has
transformed many lives. Many have changed their lives simply by venturing into
music in proverbial rags to riches stories. Thirteen old dancehall musician, Nyasha
Reginald Mano “Ras Pompy”, who is a form one student at Morgan High School in
Arcadia is looking after his family after the death of his father and he is
reportedly making a cool US$2,000.00 per month on live shows. The
youthful musician has already traveled far and wide on singing business, the
latest being to the UK last month. Besides,
he has won himself a scholarship from Borrowdale Brooke Academy as part of
their community programme for disadvantaged but talented children.
A former tout Killer
T now makes out a living through music after having to make small money from
shouting at rank soliciting for customers. There are a lot more artists whose
stories are hewn from the famous rags to riches libretto.
Forget all the monies
involved and the good side of this new industry, controversies seem to follow
the artists everywhere like flies are attracted trash. Endless feuds, fights,
dirty lyrics, diss songs and drug abuse are a common phenomenon with these
artists.
What is also more
worrying is the fact the violence has also spread to the fans where several
camps have erupted which have been created along which hood they come from. Of
note is the Mbare Massive Crew, Danger Zone from Dzivarasekwa, and other groups
from various ghettos including Chitungwiza. At some gigs, missiles have been
thrown at performing artists by their opposing fans. At one of the gigs held at
the Harare Gardens music promoter, Partson Chimbodza of Chipaz Promotions, had
to erect a fence in which artists would perform without being disturbed by
missile throwing fans.
Just click on the
internet or grab any magazine and you will see news awash on the happenings in the
Zim Dancehall camps which make a sad reading.
Talented Zim
Dancehall and chanters – Seh Calaz and Quonfuzed - have been involved in nasty
fights not only once but several times after clashing over women. The first
incident occurred at the Harare gardens during the Soul Jah Love and Bounty
Lisa Engagement Party. It is reported that it was Quonfuzed who punched the
Mabhanditi hitmaker. While everybody thought that the two had gotten over their
beef when they apologised for their brawl in the public glare, Seh Calaz went for a
revenge mission and with his crew, assaulted Quonfuzed with a golf club in the
avenues last month leading to his arrest.
In a more
embarrassing situation, Soul Jah Love and Seh Calaz are reported to have chosen
to show their barbaric acts in the Queen’s land when they are said to have had
a burst up while in London during tour early this year.
Killer T, another
revered chanter is said to have also assaulted another fellow youthful chanter
– Mabvuku based Platinum Prince over a song which the former thought was
directed at him. But surprisingly, the musician was recently quoted denouncing
the violence between the dancehall artists.
Many hits by these
musicians have either a dig at another artist or they are glorifying violence
or worse still have explicit lyrics.
Away from fistfights
and off stage wrestling, drugs have been also part of the controversy that
bedevils our artists. Soul Jah Love has also been in the papers after being
caught smoking marijuana as if smoking a cigar. Much of the banned staff was
recovered on his person. Besides, news has it that his fall out with his
promoter Courage Zikhali.
The cited examples
are just a tip of the iceberg as more feuds are always being reported in the
papers always.
But one Dancehall fan
interviewed by this magazine, Elvis Matema of Manyame Park believes the feuds
are an important part of Dancehall music.
“If there were no
feuds there would be no Dancehall music. It is these controversies that make
the genre interesting. In Jamaica, there are also similar feuds which are
characteristic of our local dancehall,” he said.
But many music
critics, promoters, artists both local and visiting artists from Jamaica who
are perceived as the pacesetters in the genre, have also denounced violence in the behaviour has been roundly condemned as it cements
stereotypes of dancehall artists as disorderly and ill-mannered.
Jamaican Dancehall
star – Turbulence - real name Sheldon Ryan Augustus Campbell, who was in the
country for the King of Dancehall Concert held in December last year at a local
bar slammed rivalry and violence characterising Zim Dancehall at the moment
during an interview with a local daily.
Turbulence said war
in local dancehall was unnecessary and called for an end to the “beef” and
superfluous feuds.
“My message to the
rival groups in Zimbabwe is that war is never a solution but communication is
the key to unite and now is the time to live and let live and have as much as
you can,” said Turbulence in that interview.
He added: “There is not much we can do
physically to stop the violence around the world. But we can sing uplifting
music and tell the people that unity is better, much better than hate,
segregation, and bloodshed.
“Right now in Jamaica, all rival gangs like
Gully and Gaza Empire are now united so there is only joy and laughter,” said
Turbulence.
Another
Jamaican scholar, Dr. Jahlani Niaah, speaking at a public discussion focusing on
the theme “Rastafari, reggae and dancehall”, whose forum focused on Zimbabwean
and Caribbean perspectives held early this year is said to have rapped
dancehall saying the music portrayed cultural decay.
“Dancehall
music can be also a portrayal of cultural decay amongst youths in the way it
glorifies violence, promiscuity, and drug abuse in poor societies.”
He also
added that the proliferation of sexual and physical abuse in ghettos and high
density areas can be directly attributed to the rise of dancehall over original
roots reggae music.
Despite the
negative comments on the Zim dancehall artists and their conduct, others still
believe they are yet to rule.
In an
interview with a local paper late last year, Godfatha Templeman, believes that
the genre is still to rule and will be bigger and better with time.
“Many
companies are getting interested in dancehall music and it is a good sign for
us. Many dancehall artistes have toured the UK this year,” he said.
Indeed many
of the artistes have made inroads to the United Kingdom but many believe it is
because of the number of Zimbabweans who are now residents in that part of the
country.
Celebrated
poet and musician, Albert Nyathi views Dancehall as an important factor in our
lives but was quick to point out their shortcomings.
“I have no
problem with this dancehall frenzy, it is a factor of life, let them be. It is
good for our youth as well as good for diversity. But I am worried about their
lyrics and I doubt if they can make it internationally. They need therefore to
think well in terms of their lyrics if they intend to make it internationally. They
should be original in nature and not to copy someone. There is no success if
you copy other people,” he said
Professor
Fred Zindi, a music guru and lecturer at the University of Zimbabwe has a
different view on Zim Dancehall music.
“Dancehall
artistes are like urban groovers or ghetto youths who are indeed acclimatised
to dancehall music due to their exposure to the tens of Jamaican musicians who
have visited Zimbabwe in the past five years and emulated by Zimbabwean
artistes such as Winky D, Sniper Storm, Guspy Warrior, Dadza D and Killer T who
have Shona versions of the same music, to mention just a few. Dancehall is
borrowed music and in my opinion this phase will soon go.
“Sungura, in
In my opinion, will never die, we have had it since the 1980s.The likes of
Macheso, Jah Prayzah, Sulumani Chimbetu are more likely to survive longer
because of their appeal to the majority of rural folk who are the majority of
Zimbabweans,” he said.
He however urged
Zimbabwean artists to be more creative if they are to advance the Dancehall
genre to a different level.
On the
contrary, the Sungura musicians also seem to be charmed by the dancehall genre.
Top Sungura artists -
Macheso and Sulu - have announced that they are working on a dancehall tune
together, which they will drop before the release of their respective albums.
The two artists, during live shows, have been heard playing some dancehall tunes
and shouting the popular chants.
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