MTV MAMAs expose Zim artistes

THE recently held MTV Africa Music Awards, shortened to MAMAs, have left a sour taste in the mouths of some, especially the local contingent of musicians, who feel they have been short-changed.

Whereas it might seem quite easy to sympathise with them, given how these continental competitions have panned out in the past to be a battle for supremacy between South Africa and Nigeria (this being possible given that the two countries have always fought for political and economic supremacy), what must not be lost on the minds of those who will sympathise with local musicians is that there might not be much of content, quality and talent currently coming from the local scene.

Ever since South Africa came out of apartheid to embrace democracy, it has been a public secret that the country has always been at “war” with Nigeria.

The battle for who is superior. In 1996, just two years out of South Africa’s apartheid, Sani Abacha’s Nigerian government executed nine minority activists, an execution which received global condemnation, moreso from a South African government that was intent on showing the world that it was a leading light in terms of democracy.

It was the same year that South Africa was hosting the African Cup of Nations, which they went on to win.

The censure from the South African towards the Nigerians (for the executions) was so severe that the North Africans decided to boycott the African soccer show-piece.

Nigerians were to boast later, that South Africa won the African Nations Cup, purely because the real champions were not there. That was to be the genesis of the North-South conflict, which inevitably has left the rest of the continent as innocent by-standers.

Fast forward almost two decades later — throw in-between the years such rivalries as Big Brother Africa, Africa Magic Viewers Choice Awards, the MAMAs — and that rivalry is still there.

And for good measure, DStv, the pan-African television platform, has been quick to notice and take advantage of this rivalry, merely for self benefit, what with it being a commercial enterprise.

For the 20 years that South Africa has been part of Africa, we have had such pan-African shows like Big Brother Africa. Though the organisers of the show would want us to believe otherwise, those who have religiously followed the reality show will easily talk of seemingly apparent competition between South Africa and Nigeria, in spite of the competition drawing contestants from the rest of the continent. That is if 12 countries should be taken to mean rest, in a continent with 52 countries.

Out of the nine editions that have been held so far, for three consecutive years Nigerians have walked away with the top prize, starting with Kevin in 2009, Uti the following year and Karen in 2011. Karen jointly won with Zimbabwean Wendall Parsons. The year that Uti won, many felt that Zimbabwean Munyaradzi Chidzonga deserved to win, probably why we were “pacified” the following year with Parsons’ win.

South African has won once, in 2012, when Keegan walked away with the top prize.

Then in 2013, the Africa Magic channel, which screens African-themed films, which many call African movies, which in essence are mainly Nigerian in content and complexion, introduced the Africa Magic Viewers’ Choice Awards. These would be the equivalent of the Emmy Awards elsewhere in showbiz, because the drawcard is to have made an impact on television.

Even from the nomination and awards list from the inaugural year, it has not been lost on the rest of the continent that the awards are an extension of that long-standing rivalry between South Africa and Nigeria.

As much as Ghana, Tanzania, Kenya and Uganda are equally strong households when it comes to these African-themed movies, what surprised many was the ease with which Nigeria — with South Africa in tow — has dominated these awards. The domination by the two countries has somehow given the impression that the rest of Africa is not producing anything.

Since the awards are viewers’ choice, it can be easily argued that it could be a game of numbers. But then again, if we are to use the argument that is used by Big Brother Africa, what counts is the country vote, and not the number of voters in that country. Whatever that means!

At this year’s edition, Nigerian Kunle Afolayan’s October 1 scooped nine awards and Mildred Okwo’s The Meeting, had five awards. Mildred is compatriot to Kunle. In fact, the trend to this year’s awards ceremony has just been a replica of the two previous editions.

Those who have been following the argument so far would be inclined to conclude that the rivalry between Nigeria and South Africa has somehow worked against the rest of Africa, rather to the detriment of other artistes on the continent.

But without wanting to mourn together with Africa, would it hurt us a little if we were to look at our own scenario, without reference to Africa in general. Supposing, for argument’s sake, the MTV awards were for Zimbabwe, how much content, quality and talent would we attract to the awards?

After the MAMAs, Knox Guni took to social media and made his frustrations known. Unfortunately I missed his ranting and by the time I picked the wind, he had pulled down the post. I am sure he had some sympathisers, in as much as he had those who advised him otherwise.

Probably if Knox hadn’t wailed, we might not have noticed nor debated. That he did wail was enough, he was man enough.

The idea is to build on his tears, his frustrations and probably help our local music industry out of the quagmire that it finds itself in.

Some have gone to the extent of arguing that we don’t even have a music industry to talk of, that what we call industry is not even an industry.

That could be argument for another day, or it could form the basis of our argument right now. Do we have a music industry? How do we define an industry? What are the dictates of an industry? And its expectations?

Let us look at our music, in a historical context.

Devera Ngwena made a name for itself locally and in the region. In fact, at one point the band was said to be selling more in South Africa than it was selling locally. The Bhundu Boys shared the stage with Madonna — and in Europe! Thomas Mapfumo — at his peak — went to perform in America and Europe, and not for Zimbabwean residents (there was a negligible number of Zimbabweans in the Diaspora then), but for the international market. Oliver Mtukudzi, when he is performing at most of his international festivals outside Zimbabwe, does not perform for Zimbabweans in the Diaspora, but for an international crowd.

Chioniso Maraire made a name, not because she was Dumi Maraire’s daughter, but because of her own distinct sound. Ancient Voices was honoured by Radio France (“Decouverte Afrique”) and was nominated in the Kora All Africa Music Awards for best female vocals of Africa in 1999.The album entered the World Music Charts Europe three times.

To crown it all, Leonard Dembo’s Chitekete was played at the Miss World finals. Mokoomba has been playing all over the world in language(s) that some of us even here in Zimbabwe are not familiar with.

Furthermore, Salif Keita is popular in this part of the world yet some, if not many, of us don’t even understand what he will be singing about. Same with Ladysmith Black Mambazo.

The point that is coming out of this argument is that language is not a barrier to music, in fact the music sound should be and is the language. No matter what language you sing in, as long as your music is good and original, it would be accepted, irrespective of which corner of the world that could be.

Which brings our question back: do we have a music industry?

If we are to go for the competitive strictness, we don’t have a music industry that would compete with, say Nigeria or South Africa. But in the general sense, we have a music industry, an industry which supports our beer halls, our night clubs, our braais, our weddings, etcetera.

But beyond that, can we compete with Africa, or part of Africa? It might be a tall order, it might be asking too much. And if we cannot compete with Africa, on whose shoulders should that blame lie? Is it that our artistes are out of depth? Don’t we have talent? We are not capable of packaging our products?

We are not saleable?

Talent, we have. Chioniso proved that to us long back. Depth we have, Mtukudzi has shown that to us. It is the packaging that might be lacking.

Years back, we were discussing this and that with Sam Mataure and he was chronicling how difficult it was for the Mtukudzi’s Black Spirits to break into South Africa. He was narrating of one incident, it must have been at a Soweto stadium, where they were the opening act.

“An hour can be a long time in life,” I remember him saying. In turned out their set must have been an hour or hour-and-half but because the South African audience that they were playing for, didn’t know who Oliver Mtukudzi was, they just stood and watched.

“We tried all tricks in the book, we beat the drums like they have never been beaten before,” continued Sam, “but the audience would not move.”

The act soon after them was the Soweto String Quartet. Each of the four members drove into the stadium in his own black BMW. Just the entrance of the group — each in his own BMW — made all the difference. The stadium was up in noise in no time, even before the group had struck any chord on any instrument. Lesson 1: packaging.

But then, some might ask, how do you expect a group coming from Zimbabwe, especially a Zimbabwe that has not known good times for quite a decade-and-half, to package itself competitively? How would you package Roki, Knox, Pah Chihera, Hope Masike, etc such that when they enter the grand stage, everyone feels their presence?

Intimately tied to that is the issue of breaking new ground. P-Square, sensing that they needed to enter the American market, featured Akon on their Chop My Money song. That’s breaking new ground for sure. But did they pay Akon to feature on their song? What promises did they make to each other? In the event that they could not afford Akon’s asking price, how did they negotiate around the deal? Lesson 2: breaking new ground.

Buffalo Soldier is a Zimbabwean musician, based in South Africa. Due to family commitments, I was not able to see his live performance at this year’s Harare International Festival of the Arts (Hifa) but I am told his performance, at least going by the sentiments of those who watched him, did not match the hype and expectation of many locals. That is largely an opinion.

But lesson 3: marketing.

Buffalo Soldier, in spite of his poor live performance skills, managed to perform at Hifa, which must be a boost to his CV now. Which artiste would not want to perform at Hifa? There are, probably, better and more talented artistes than Buffalo Soldier who are yearning to perform at Hifa and have not yet done so, probably because they do not have the right linkages.

In as much as our artistes might be talented, without the right linkages and forums, they might as well die and rot as Zimbabwean artistes, without making any impact outside Zimbabwe. Case in point being Alick Macheso. When he goes to the United Kingdom, he is going to be performing to home-sick Zimbabweans, and not breaking any new ground.

So Buffalo Soldier might have succeeded in marketing himself to the Hifa organisers, in spite of his limited on-stage skills.

Our fourth lesson is on quality. Who is responsible for the shoddy videos which we see on our national television? The national broadcaster, for accepting the shoddy videos; or our artistes for producing and presenting the same shoddy videos, which in turn would not attract any attention outside Zimbabwe. Competitive attention, that is.

The issue can easily be surmised as the egg-and-chick scenario: which came first? Naturally, our artistes would argue that the national broadcaster does not pay us the commensurate rates so we do not have the money to produce quality stuff. On the other hand, the broadcaster would argue that they do not have the money in the first instance.

But here we are, wanting to compete with the best that the continent has to offer, on whose desk should this buck stop? The artiste or the broadcaster?

In a general sense, the national broadcaster has the duty, the responsibility of safeguarding our national interests and as such they should be at the forefront of ensuring that the interests of the nation take precedence. In short, our image as a country rests with the national broadcaster. Whatever quality, or lack thereof, that we might suffer has to be gauged through the eyes of the national broadcaster.

Reason why, comparatively, the South Africans have done so well with their soaps and music, because they have guarded these so jealously, today Generations, Muvhango and Isidingo are pan-African soaps.

Today Casper Nyovest is a pan-African musician. Because these products have been pushed through by the national broadcaster.

Until we take ourselves seriously, our music and the musicians will remain largely for local consumption. We have the talent but we should know how to break into new territory, how to market our products, how to package our music.

And unless we do that, Jah Prayzah, Suluman Chimbetu, Winky D, Stunner, Victor Kunonga, I mean the whole lot, will remain Zimbabwean musicians, for Zimbabwean consumption.