According to Turino (2000:23) in Shona culture if a man marries a woman of the same totem a most serious offence of incest (makunakuna) is created. Less serious but still the concern of the vadzimu (ancestral spirits) is that of the chekaukama, a procedure by which distant cross-cousins may be allowed to marry. In his music, Maskiri perverts all moral values whether it’s Christianity or African traditional religion.
FANTASY AND ESCAPISM
In songs both by Maskiri and Xtra Large there are many aspects which are not real and can never happen in real life. There is too much subversion of reality. In the song -Ndakafa-, Maskiri says: (-Apo maD.J achinoza ndirikuremember) When the D.Js were speaking through the nose I remember N(diri kuremember muface anga aine leather jacket) I remember the guy in a leather jacket (Akandipressa banga rikapinda mumaintestines) Pressing his knife into my intestines (Rikabuda ropa rinozadza three buckets) Blood coming out to fill three buckets (Vanhu vachiseka maintestines ari panze) People laughed, with my intestines out (Vanhu vachioona rib-cage yangu, Ndikasheedzerwa taxi) People watching my rib cage, a taxi was called for me-
What Maskiri is implying is that he is immortal; he can actually die and resurrect. This is a narration of a story based on fiction where Maskiri goes to Soweto in South Africa. In our African values life is valued more than anything else. Maskiri claims to have died and resurrected in the song -Ndakafa-. However, according to Shona cultural beliefs: -There are two concepts of life, life in the body in this world and life in the spirit alone after death- (Gelfand 1973:167)
In trying to be superior to other human beings, Maskiri distorts the reality of life in telling fictitious stories which are baseless and there is nothing didactic about that kind of story.
According to Gwanjera (2001:78) -Most genres of music which we have in Zimbabwe always refer to real situations which happen in society. The role of a musician is to conscentize people of social realities and inequalities in society-. However, according to Moyo (2006:13) the economic situation in the country has led many people to fantasize about life, people fantasize as a way of showing their superiority in any situation. Even though in another sense fantasy objectifies Maskiri’s frustration with life and his desire to escape from all standards of life.
Fantasy is also another aspect of hip-hop music especially if one looks at the music of both Eminem and Tupac. At one time many music fans believed that Tupac actually never died and if he died he will resurrect but that has never happened. Maskiri seems to see himself in the mould of the likes of Tupac especially if one parallels what fans of Tupac believed and that he sings in his song -Ndakafa-. (-Kudenga kuri kunakidza Hakuna chatinobhadhara) (Life in) Heaven is enjoyable everything is for free (Mababe hobho, namabottle store) So many girls, and bottle stores (Tinoshandisa mablank cheques) We use blank cheques (Tinoita car-hijack) We hijack cars (Nezuro ndaitotambidzana mogo naBrenda Fassie) Just yesterday I was smoking with Brenda Fassie (Takatyoka mulake ) Near a lake (Kwataiita mamwe mavideo nanaTupac) Where we were shooting videos with Tupac (Ifawo uuye kuno, kana uchifunga kuti ndiri) Just die to come here, if you think I am (Kukunyepera.. Unenge waakuita breakfast nanaPastor) Lying – If you will be breakfasting with Pastors (Wakabata joy-) Holding joy (enjoying)-
Maskiri lacks any sense of what is good and evil. His fantasy just goes too far. He claims to have died yet he is alive. The whole issue becomes unbelievable. It seems the kind of life he portrays in his music revolves around -pleasure and joy-. These are not virtues in our Shona culture or even Ndebele culture. Maskiri celebrates human weaknesses. The world he portrays is part of the worldview of drunkards to whom reality and fantasy is intermingled as soon ads they are drunk.
The mention of Tupac and Brenda Fassie confirms Maskiri’s role models in his music. Those are people who rebelled against their own societies’ values in their life time. This is one of the effects of globalization on our youth, the distortion of reality.
However, Maskiri’s version of fantasy is different from that of Xtra Large especially in their song -Kushamura Newe- (-Inzwa unzwe babe e-he-he) listen very well babe. Mahumps, matower lights, nemapublic toilets ese aunoona aya, ndini ndinoamaneja. Kumba kweka, tine muchini unobhendesa mabhanana neumwe wacho unoisa mayoke mumazai – zvekuti ukandida, ndinopota ndichikuisira two two mazai, mayoke, kumba kwedu. (At our home we have a machine for shaping bananas and another one which put yokes into eggs so that if you live me, I will favour you with double yokes in each of your eggs-
These are actually humorous sad stories that people tell in the ghetoo )”>http://www.nyu.du>) When Maskiri sings about going to South Africa and going to Soweto where he is stabbed, these are real life issues which many a border jumper experiences in South Africa. There is no African brotherhood. In the song, Maskiri is killed for dating the man’s girlfriend. Maskiri is actually protesting against rampant unemployment, poverty and lack of money. It is only the rich who can enjoy life. For the poor, maybe the only way to enjoy life is after death where everything is now for free. These are typical stories which one can hear in our neighbourhood. The church is failing to provide an alternative of a better life spiritually and physically because of hypocrisy. Maybe that is why Maskiri visualizes himself in heaven with prostitutes, drunkards and pastors alike.
When Xtra Large in their song -Kushamura Newe- humorously depicts a situation of courtship in modern times it is actually protest at society which has lost its values. One needs to be materialistic to gain. -We are bemoaning the lack of true love in our society, people always promising each other sweet nothings- (Interview Xtra Large 12June 2007). What Xtra Large depicts is living true to the old age adage -Rume risinganyepi hariroori- (A man who does not lie will never marry) Similarly Xtra Large uses thoughts and ideas and attitudes toward life based on practical knowledge of their lives.
URBAN GROOVES MUSIC AS SOCIAL COMMENTARY
In Shona societies, a woman can only have one spouse, a man may have more than one wife if he so wishes. Second, a woman should join her husband after marriage. (Masasire in Mutsvairo (ed) 1996:41). This means therefore that they shall live as husband and wife. In their song -Amai Linda- Xtra Large deals with the theme of infidelity in marriages in their larger society. Most people in Zimbabwe are now familiar with the phrase -small house- because it is now synonymous with unfaithfulness in marriage.
In their song -Amai Linda-, Xtra Large sing (-Ehe vakadzi ari mudzimba umo ) Ehe all you wives/women who are in their matrimonial homes (Musati zvamaroorwa hamuchagezi) Don’t think that if you get married, you stop bathing (Munosiiwa mumba umu makatemba mhai) They (husbands) can leave you, if you rely (on marriage alone)
This is the kind of advice many aunts can give to their daughters in law. However, Xtra Large’s message to society suffers from too many generalizations and stereotyping. It’s not all women who are married who do not bath. Bathing is not the only way of retaining one’s man. Bathing and cleanliness is another aspect of marriage and is not one of the main causes of breakdown of many marriages nowadays. According to Macdonald Chidavaenzi, an urban grooves music producer-: -One of the main problems with urban grooves music is that they do have a too simplistic vision of human life, in dealing with a certain situation they do not go deeper into the more important and complicated facets of life- (Macdonald Chidavaenzi, Interview 12 June 2007)
In the end, when adult listeners, hear this kind of music it is taken as something lacking identity because of lack of exploration of other facts of life. It seems Xtra Large in their song -Amai Linda-, they are endorsing patriarchal attitudes towards marriage. They fail to point out that it is actually the men who must provide money and support for the women to go out clean and smart. Norman Manwere of Xtra Large described a -small house-, as -an unmarried woman involved in an affair with a married man. She can be a single mother or a girl. Some single mothers do have the capacity and means to sustain themselves financially but just need a man in the house to fulfill her sexual desires- (Interview 12 June 2007) Some people have criticized urban grooves musicians for using sexually explicit language. Xtra Large has been accused of promoting sexual immorality by giving reasons to men, to leave their wives. -Amai vekumba uku vanonhuwa mukanwa My matrimonial wife smells in the mouth Muhapwa nemasocks mubhutsu In the armpits and her stockings KwaMai Linda manje kunonhuwirira perfume With Mai Linda, she smells of perfume Ndikaendako handidzoki vanondichengeta- If I go there, I won’t come back- Xtra Large makes distinctions between a -small house- and a matrimonial wife. Sometimes reality is distorted. One tends to ask himself why the real wife is portrayed and painted in bad light and the -small house- has got all the necessary qualities of a wife. This actually gives a positive evaluation of -small houses-. Even though, Manwere of Xtra Large argues that, their song is a protest against a society which no longer values contributions made by their wives. However, this makes adultery fashionable it all goes against the concept of -unhu- in Shona.
4.5 URBAN GROOVES ARTISTES AS GLOBAL ICONS
In Africa, dressing is part of our identity. However, with colonialism and modernity, there becomes a problem in defining African attire especially the attire for the youth. In Zimbabwe there is no national policy on attire for the youth.
In urban grooves music, it is not rare to find many urban grooves musicians wearing international labels like G-Unit, Roca Wear, Akademiks and Sean John. Most of these are American labels. Sean John is owned by music producer and singer Diddy and G-Unit is owned by 50 Cent. These merchandises carry a lot of values in themselves. It is a Capitalistic means of commodifying their values and also a marketing gimmick. In consumering America music, the youths also consumer their values and attire. On the sleeve of the album -Small House- by Xtra Large, Jim Mangezi and Norman Manwere are wearing the -flat- caps, chains and that kind of attire which is synonymous with likes of 50 Cent and Nelly. In the end, the difference between Manwere and Nelly is nil. The attire consists of baggy pants, oversized sports jerseys and European labels. The attire also consists of unlaced sneakers. According to Chezet (2007:75), the hip-hop look is suspected to have originated from American prison life where belts and shoelaces were confiscated to prevent suicides.
Clothing is not only a fashion statement among urban grooves musicians. They are even copying the hairstyles of many of their idolized rappers. Some urban grooves musicians like Xtra Large, have plaited hair, together with earrings on one side of the ear, in the mould of Snoop Doggy Dog among many a rapper. This is one of the effects of globalization on our youths, the difference between hip-hop musicians and urban grooves musicians, in terms of dressing is not clear cut. Sometimes facial expressions are just the same.
According to Ndhlela ( )”>http://www.glocaltimes.com>) -Youth popular culture in African societies should be understood within the context of globalization and the transitional flow of cultural commodities for these have a bearing, directly or indirectly, on the everyday lives of young people-.
Part of the influential aspects of globalization comes from music videos. In trying to look like their role models, the artists go to the extent of a pure imitation of American dress and mannerisms. In third world countries, many youths can be seen with big boots, long chains and baggy trousers reminiscent of American musicians, such that their lives are filled with -Americanisms- (Mclaren 2005:22). Many urban grooves artists fall into this category, and this include the likes of Ex Q, Maskiri, Christy-B and Trevor Dongo among others.
The dances depicted in most urban grooves musicians’ music videos fills the whole ideology of American rap music. In the song -Roja dance-, Xtra Large sing about dance which they think is unique and peculiar to them -Mubate chiuno, dzika naye Mutatamure sekahuku kakaundurwa Dzika futi kusvika mose mayuwira Simudza gumbo kusvika mose mayuwira Pinda mukati, uvhaye kadhimba, kadhimba-
In describing what they think is a -Roja dance-, Xtra Large is actually describing a sexual act. Urban grooves musicians’ penchant for using sexually suggestive language has made many critics to say they lack seriousness. Sexually explicit language is a hall mark of hip-hop musicians. The Zimbabwean dances include muchongoyo, Jerusarema and imbube among others but these are mainly used in traditional ceremonies. Some genres of music have creatively introduced their own type of dances, for example in -sungura/museve- there is what they call chibhasikoro. However, in urban grooves music, they still concentrate on imitative dancing styles of Rand B music to urban grooves music. In terms of coming up with own type of dancing style, the creativity has been lacking.
4.6 INDIVIDUALISM
In the song -Hama nehama’ by Maskiri, one of the most noticeable features of urban grooves music is a sense of arrogance and individual boundless pride. In this song, Maskiri rhymes like this: -Ya-ya ndakamboenda kunhamo Ya-ya, I went to a funeral Handidi kunyepa ndakanakirwa I do not want to lie I was very amused Mudhara aine afa, zvikanzi ndiBabamukuru The old man who had died, they said he is my brother-in-law-
Funeral ceremonies are sacred in our society, they can not be talked of with such ease and to poke fun at sacred Shona values is abominable. For Maskiri, a funeral ceremony is amusing, for him it is a place of amusement. This is not true of our culture. People who are mourning their loved ones become a humorous spectacle. One can not afford to lose Maskiri’s lack of concern and the -as-long-as-its-not-me’ attitude which is not part of our African values which emphasize collective consciousness not individualism. Talking of individualism in Africa and Zimbabwe in particular, President Robert Mugabe once said:
-culturally or traditionally, our society has never been individualistic as the European society. At worst perhaps, the only individualism you can talk about was based on family concerns-a family together as a unit. But in our society and tradition, when you talk of a family, you have the extended character of the family, not the narrow concept you get in Britain, for example- (Interview with The Age Newspaper of Australia:15 Jan 1981)
When Maskiri says -Mudhara ainge afa zvikanzi ndiBabamukuru’ it shows lack of respect for the concept of family hood in the Zimbabwean society. What he has is the narrow concept of family, in which he considers his immediate family as his family only. In the end it shows that he has got the narrow and individualistic view of family predominant in White societies. What he projects becomes a European world-view instead of an African world-view.
4.6.1 Use of pronoun -I’ in urban grooves music
Most of the individualistic tendencies in urban grooves musicians’ songs can also be noted in the use of the pronoun -I’. -I’ emphasizes individualism rather than society. In their use of -ndaka-‘ (-I’), both Maskiri and Xtra Large proves that, in their music they are representing themselves before anyone else. It is different from the pronoun -We’, which we find in the music of Thomas Mapfumo. For example, in his song -Vanhu Vatema’ (African People;1993), Mapfumo sings:
-Africa kana tiri tose iwe, tinokudza mhuri yedu tose Africa if we unite, we will be able to feed our family Africa kana tikabatana iwe, mhuri dzedu dzinoguta Africa if we unite, our family will have enough Kana mari yedu ikabatana iwe, tinotenga zvinhu If we bring our currencies together, we will buy Zvakakosha Plenty of things Tinotaura nenzwi rimwechete iwe, If we do speak with one voice Kana nyika dziri kure dzinotinzwa Then everyone can hear our plea (Taken from Kwaramba:1997)
The song’s theme is unity, not only in Zimbabwe, but also for Africa to speak with one voice. However, on a deeper social level, the song speaks on behalf of the collective. The keyword is -we’. -We’ becomes collective and inclusive. It puts out of focus, the social differences and relationships. According to Kwaramba (1997:137), -we’, emphasizes the collective struggles of people and their daily lives. It is now different from urban grooves music.
-I’ is also emphasized in hip-hop music, especially in the music of Eminem, particularly if we examine the song -Evil Deeds’ by Eminem where he sings:
-Father forgive me, for I know what I do I just never had the chance to ever meet you Therefore I did not know what I would grow to be My mother’s evil seeds and these evil deeds-(Encore:2004) Tupac also sings, in -Rebel of the Underground’
-I don’t give a damn and it shows And when I do a stage show, I wear street clothes So they all know me The lyrical lunatic, the maniac emcee I give a shout out to my homies- (2Pacalypse Now: 1991)
Individualism is also part of American culture, and it is prevalent in American hip-hop. The keyword is -I’. It shows that, many urban grooves musicians, their terms of reference when they are recording their music is hip-hop music. Hip-hop music emphasizes the uniqueness of individual identity.
In his song -Hama nehama’, there are many facets of Maskiri. While it is the norm, that people look sad and cry, Maskiri thinks the opposite; it is an occasion for amusement and an occasion for courtship. In this case he proposes love to his copusin . In a way, he is glorifying incest. According to Gelfand (1973;34), incest is not only a crime against the family and society at large, it is also a crime against the vadzimu (ancestral spirits) who will be appeased by the paying of a beast by the son-in-law (mukwasha). In glorifying cultural taboos Maskiri shows his alienation from his people and society, he goes above the bounds of accepted culturally defined behaviour.
However, Maskiri presents the other side of humanity. Not all people who attend funeral ceremonies will be really sad. Some go there because they are part of the family and the similarities with the bereaved family end there. Some just force themselves to cry, which is tantamount to being false to onerself. Maskiri is questioning those aspects of society which -literally’ forces people to cry when they do not feel like crying.
In most cases people start crying when they are about to enter the household of the bereaved family, such that one questions the whole aspect of crying. Crying is an expression of solidarity with the bereaved family, but there is some kind of hypocrisy associated with it, when people just cry for the sake of solidarity. It is this kind of hypocrisy that Maskiri questions in his music. It is that kind of hypocrisy that Maskiri denounces in his music. The dilemma is that, in denouncing this, he becomes alienated from his culture, yet its social reality.
In urban set-ups, most children grow up without knowing some of their relatives sometimes. Therefore the potential for incest is very high. Sometimes, some relatives may stay in a different city or urban area, and without any close family relationships, many youths end up proposing love to their cousins and sisters. Urbanization itself brought a new kind of individualism, which makes some people in the city disregard their families back in the rural areas. The extended family which we had is now slowly crumbling down. Many youths today, grow up ignorant of their kith and kin. When Maskiri says, -Mudhara ainge afa zvikanzi ndiBabamukuru-, this shows the ignorance that most of the teenagers have concerning their relatives.
People now stay far and wide apart such that communication is rare. Funerals now save as some kind of a family reunion but the time is too short. Maskiri is protesting against a society which has become too individualistic. He is magnifying those aspects of society which people do not want to hear. The spirit of individualism has pervaded our society, the sense of community has been broken by urban life. Some youths in urban areas rarely go to the rural areas, they have created a sense of community on the internet chat shows which create virtual cyber-space communities in which foreign values are ingratiated in them. The internet distorts reality of their situational context. According to Ndhlela:
-ICTs, particularly the internet, have facilitated the creation of new communication spaces that enable young people to adapt creatively to their restricted cultural space in Zimbabwe. It offers them immense opportunities for networking with dispersed population segments as well as social movements around the world which emphasize on the uniqueness of individual self expression, freedom of expression and anti-social behaviour and so on..- (www.glocaltimes.k3.mah.se)
What the teenagers see on these internet shows has got an influence on the way they view their world. Roles which were played by aunts (vatete) are now being substituted by the internet. Sexual education, which was done by the elders, is now being done by fellow students in boarding schools, where teenagers share many secrets trying to imitate the kind of life they see on movies, internet and many international news magazines. Maskiri is popular among the youth, mainly because he sings about issues which many people would rather be silent about in their homes. In this way, the youths are identified with someone who publicly utters what they fear to say in their homes because discovering new things is part of growing up. Maskiri provides a localized version of what the youth hear and see on television. Thus how globalisation influences the behaviour of some of our musicians.
When urban grooves musicians sing, they make assumptions of their target customers. They know what the youths want, and they give it to them. Both urbanization and globalisation has influenced the type of music we have today. Urban grooves music is part and parcel of the society which we are living today.
4.7 CONCLUSION AND SUMMARY
This chapter discussed the major themes and aspects of urban grooves music. The main argument in this chapter with similarities between hip-hop music in America and urban grooves music focusing on the music of Eminem, Tupac, Maskiri and Xtra Large. A through analysis of their music has shown that, they concur on many themes like violence, misogyny, promiscuity, sex and many other aspects which can be deemed to be anti-social behaviour in our society. Their use of vulgar language is also very similar to that of American musicians.
CHAPTER FIVE
5.1 OBSERVATIONS AND COCLUDING REFLECTIONS
This chapter is a critical overview of my study of urban grooves music based on the findings of this study. Observations will be presented together with the researcher’s independent point of view concerning urban grooves music.
5.1.2 CHOICE OF MEDIUM OF EXPRESSION
Most urban grooves musicians sing predominantly in the Shona or Ndebele language which are our own vernacular expressions of our cultural activities. There are some who use the English language in some of their songs like Betty Makaya on the song -For You-(album -Ndichange Ndiripo:2004) and some who use the foreign language only like Cindy. However Maskiri and Xtra Large use Shona and intermittently use street lingo. English words are scattered in their music. In the song -Hama nehama-, Maskiri says: -Amaiguru vakandiintroducer ku first born yavo apo vakataura Shona vakati ndiro dangwe ravo mwana akabatana fanika mukati mendege dressing yacho aiita fanika munhu wemuTV Aichema zviri soft akabata cup yetea- (Amaiguru introduced me to her first-born child When she spoke Shona, and said, this is my first-born A girl as bound together/ beautiful as the inside of an aeroplane Dressed like someone on TV Crying softly holding a cup of tea)
Though Shona is used predominately, English and Shona is juxtaposed in this text.
English is now being used as the standard mode of communication in many schools. The result is that, we now have -linguistic amputees’ neither being able to speak Ndebele or Shona fluently. Some parents do not speak any local language in their homes which is causing linguistic alienation among many teenagers even though some take pride in speaking English which is a foreign language. Language becomes a form of globalisation by which the youths can easily identify with foreign objects because of similarity in the language system. Most international companies do their commercial advertising in English.
When people are listening to international news or entertainment, the medium of communication is the colonizer’s language such that the ideology and hegemonic concepts of the United States of America and Britain are internalised. The use of the English language generates a preferential market for commercial and cultural products of other countries. This mutually reinlforces and embodies a set of cultural and political about, for instance, the inculcation of individualism, superiority of the historical role, political systems and cultural products of the USA and UK. This certainly distorts our Zimbabwean identity which is rooted in our language system as well as linguistic and cultural impoverishment (Chezet 2007:43). The juxtaposition of both English and Shona or Ndebele is a hallmark of urban grooves in Zimbabwe. Though some musicians like Thomas Mapfumo use English on some of their songs, they do not lose their Africanness. Shona is predominantly used to be closer to the people.
When Maskiri sings -Mwana akabatana fanika mukati mendege- (a girl as beautiful as the inner side of an aeroplane) , one has to infer the meaning of this statement because it can be easily and directly translated to -A child as knit/bound together like the inside of an aeroplane’. In its correct context, the statement is about a beautiful girl. Maskiri uses slang or street lingo because he has got assumptions of his target audience in mind, the teenagers. Most youths can identify with this kind of language more than the older generation can ever do because of generational gaps. That is why some older people say urban grooves music is meaningless. Maskiri uses the imagery which is familiar to many youths like an aeroplane. Appreciating the beauty of a girl by comparing her to an aeroplane is dull humour though. Instead of saying -aichema zvinyoronyoro’, Maskiri chooses -aichema zviri soft’ (she was crying softly) because that is the language of the youths who are still growing up. Urban grooves music is about the youth, about growing up. Courtship is one of the stages a girl or a boy has to go through.
5.2 CHANGE OF NAMES
Many urban grooves musicians are in the habit of changing their names, while there is nothing wrong for a group or band to call itself Xtra Large, eyebrows are raised when those who operate solely just change their stage names. Most African artists, especially in Zimbabwe, use their real names. One can give examples of internationally recognised artists like Oliver Mtukudzi, and Thomas Mapfumo or even the likes of Tanga wekwa Sando, Alick Macheso, Tongai Moyo and Nicholas Zachariah. Most urban grooves musicians use pen names, probably as a marketing gimmick by using a name which appeals to the audience. Maskiri’s real name is Alishias Musimbe, Decibel’s real name is Daniel Mazhindu and Portia Njazi is now known as Tia in the music circles. Maybe these urban grooves musicians are following after their role models in the music business like Snoop Doggy Dog, Jay-Z, 50 Cent and Eminem, who do not use their real names. Infact, Tia (Portia Njazi), refuses the urban grooves musician name tag, and prefers to be called a Rhythm and Blues singer. There are others who have never really changed their names like Trevor Dongo, and Betty Makaya among others, but these are very few.
5.3 RHYTHM AND INSTRUMENTATION
Urban grooves musicians are known for using computer-generated music. This is one of the reason some of them are failing to stage live shows. Many critics have taken this point to brandish urban grooves musicians as copycats and lack of creativity and originality. Pioneer urban grooves producer, Ibbson Ndoro defended the move, saying: -A lot of older generation musicians have been producing digital music but nobody made a fuss about it, but when people speak about digital music now, it’s as if we are the ones who started it and the computers compose the music for us-A computer alone can not produce music, you need the know-how and expertise- (The Herald:21 feb 2005) According to award winning urban grooves music producer, Macdonald Chidavaenzi, there are some urban grooves musicians who would take the rhythm of some hip-hop artists and just put the vernacular words on top, but this has since changed. He argued that this was during the formative stages of the genre when established music companies like Gramma refused to sign in most of the upcoming musicians in the genre. Chidavaenzi argued that: -We now blend local instruments with some of the rhythms which we construct on the computer, local instruments include, head guitar, mbira, marimba, shakers (hosho), and many other instruments which are available locally- (Interview:24 June 2007) Norman Manwere of Xtra Large also defended the use of computer-generated rhythms arguing that, there is nothing in Zimbabwean music which can be said to be original, the guitars, keyboards and virtually everything is foreign. He argued that, -I do my own lyrics from my own head, as well as the arrangement of instruments in collaboration with my producer because I know what I want my music to sound like’. However it is globalisation which caused this to happen at its phenomenal scale which compromises the quality of music.
5.4 THE FUTURE OF URBAN GROOVES MUSIC
According to Macdonald Chidavaenzi (interview :24 June 2007), urban grooves music is there to stay mainly because: — it is the sound of the future, currently the larger population of music buyers in Zimbabwe is mounted on museve/sungura, but that generation is slowly fading away as the younger generation which is more familiar with urban grooves rises..it is however critical to invest in the future otherwise we will die of monotony-
While urban grooves music is there to stay, yet the youngsters need guidance and they should show seriousness in their music. Most urban grooves musicians have been a one-hit wonder, and after that they just fizzle out. Their lifestyle has made the public think that their music is children’s play because of their lack of maturity. The Herald (24 April 2005), reported that: –next is Mr Paul, or is it Rocqui, as he wants to be known. Rockford and Paul wants to be seen as the local versions of Jay-Z and Beyonce Knowles and sometimes the way they behave makes them look like merry Andrews. ..Whenever this couple is, they want to be noticed for all the wrong reasons, did you check how Rocqui behaved during the Kingstons compilation album– However there are others who are talented and are level-headed like Trevor Dongo, 2BG among others. Some like Maskiri are known in the music circles for all the negative reasons. According to The Herald(22 May 2005), Maskiri should show maturity in his music:
-Maskiri should be serious, recently he was reported to have jumped off from a 4th floor of an apartment in the Avenues area in Harare. He was also pictured in a local daily up a cigarette-What does he take us for, a bunch of fools? His pathetic antics are killing the rap game, as the music consumers are now seeing every rapper in the same light as Maskiri-As for Major Players, the guys are good but they need to be a little bit original. If you listen to their music you would think that it is 50 Cent or other American rappers. What these musicians do not understand is that in music one needs to differentiate himself from others so that he can retain a lot of fans..- This is the dilemma of many urban grooves musicians, they try to be someone else, copy his style of music, his dressing and also the lifestyle. To be taken serious urban grooves musicians should start playing live shows with live instruments and bring out the creativity that they have.
5.5 URBAN GROOVES MUSIC AND ZIMBABWEAN IDENTITY
Urban grooves music has generated a lot of controversy. The name itself has generated a heated debate. At first some sections of the media continued to call them hip-hop or rap artists. For example, The Independent(24 Jan 2004), has an article on Maskiri, headlined -Hip-hop star Maskiri assaulted-. This is all part of the confusion which surrounds the genre of music. However urban grooves is now accepted as the proper term for these urban upstarts who started the genre in 2001. Its confusion with hip-hop shows that it has got its origins in hip-hop music. Some urban grooves musicians like Tia (Portia Njazi) prefer to be called a Rhythm and Blues musician. Decibel was recently quoted as saying that he hates urban grooves music, -That word urban grooves is now used in a derogatory fashion. My music can stand on its own without these useless category labels.”(www.newzimbabwe.com/pages/storiesfromanyplaces3.14394.html) This is which has heightened the confusion of what urban grooves music is. According to urban grooves producer, Macdonald Chidavaenzi; -Urban grooves music is the type of music which is sung by the youth , who are usually between the age of 18 and 30. Most of these youngsters ,are products of the 75 percent local content policy introduced by the government in 2001. Most of their music’s target are the youths- (interview:24 June 2007)
However, some who came up as a result of the seventy-five percent local content like Africa Revenge prefer to be called jazz musicians. This becomes problematic. An urban grooves musician would then mean everyone who is a product of the 75 percent local content, whether a gospel musician, jazz or any other classification of music.
Some notable musicians like Thomas Mapfumo and Oliver Mtukudzi have scoffed at the genre. Mtukudzi called urban grooves music an American copycat. In an interview with Dumisani Nyoni on www.soulafrica.com, Mtukudzi says: -It is. That song is not periodical. It worked yesterday, it works today and it will still work tomorrow. There is nothing wrong in appreciating hip-hop, R&B and so on. But when it comes to composing, you have to do it as an African. You have to show them what you can do, because they cannot do it better than you. Because if you don’t do it, who is going to do it? Like I said, you have to be proud of who you are, first and foremost. The moment you start to feel inferior, you will then likely become a victim of the consequences of this cruel world. I think, to be who you are in a big fight against any other culture because there is no culture inferior to another, which means there is no culture superior to yours. Commentary is not bad at all. Of course we have some comments that come from some of those songs that are not helpful in life. But that’s natural. You get one who does such things. I think where the problem is, is that they are not being true to themselves. Trying to be Westerners. Why are they coming out with that song-? In most cases, you can tell that the sounds they base their tracks on are not original sounds. It’s because most of them feel inferior to what the Westerners do. And I am saying, they should be proud of who they are, first and foremost. On every aspect of the song. Not just the lyrics. They take the sound of an old R & B song and put their lyrics over it. That’s not it!. The creativity comes from the song itself. It has to be African. It has to be Zimbabwean. If it’s Zimbabwean, then you can’t go wrong. Look at Michael Jackson, he cannot play my song better than me. He cannot play Dzoka Uyamwe better than me and I cannot play thriller better than he. So we need that. If Zimbabweans don’t feel and be Zimbabwean, so who is going to be Zimbabwean?-(www.soulafrica.com/lwwcm/connect/Soul+Africa)
According to Mtukudzi, music should be appreciated by all people regardless of class. ethnicity, or region, it must have a national appeal. An artist must get through to the people, -Well, it’s because I am Zimbabwean. I don’t see myself as a Shona. I am Zimbabwean. I even try to sing songs in Ndebele. I am not good in Ndebele. I sing in my broken Ndebele, because I am trying to get through to people. An artist is supposed to do that. They are there to represent themselves and everyone. Not just a certain dialect or language-. This shows music must represent the people in society. One may not feel Zimbabwean in a kind of music in which the rhythm is foreign, dances are foreign, attire is foreign and what is local is the language and the people. While it is true that urban grooves music is like this, if one looks at Ziombabwean music today, almost everything is foreign. According to Bere (writing on www.nyu.edu), apart from mbira, drums and other traditional instruments, everything in Zimbabwean music is guilty of borrowing from American music. While it is true that keyboards are not part of African music, the themes of the music of sungura musicians who use foreign instruments are local, they have a cultural identity.
In urban grooves music the style, lifestyle, and almost everything associated with urban grooves music has got a foreign touch to it. It is also true that many genres in Zimbabwe have got traces of international genres of music, for example rhumba came from Cuba via Congo and mbaqanga , kwela and kwaya from South Africa. Turino (2000:47), distinguishes mbira as the distinctive beat which is original to Zimbabwean music. This means that, as long as people do not play mbira in their music, it then lacks a Zimbabwean identity.
However, one of the main problems with urban grooves music is in imitation. They just import wholesale, a genre of music and impose it on the people of Zimbabwe singing about issues alien to our society. Maskiri’s use of obscenities takes him apart from other musicians who sing socially-conscious lyrics. Tafara Mbaya of Musicians Association of Zimbabwe also deplored the use of vulgar language, and said the youngsters need guidance and counseling, he said: -most of them are influenced by Western musicians and they simply absorb everything done by their role models without considering the context in which they are operating- (The Herald:27 March 2004)
In promoting moral decadence, being mischievous, and trying to show a -gangster attitude’ many urban grooves musicians go at loggerheads with our identity. Getting fame and fortune with a morally upright character can actually earn them more respect than having popularity based on immoral practices. The Girl Child Network, an organization promoting the rights of women slammed many urban grooves artists for portraying women as sexual objects. Betty Makoni of the Girl Child Network said:
-..such songs such as -Chimoko chiDanger’ by Nasty Trix, -Zimhamha’ by Maskiri depict women as sexual objects, and encourage the abuse of women-up to this day the arts have no space for the girl child as she is seen on television as a victim and not as a conquerer..-(The Herald:14 October 2005)
Makoni urged artists to use music to educate, to expose societal ills like rape and murder. In his music, Maskiri does the opposite, by promotong statutory rape, incest and bestiality. He alienates himself from his identity.
In some of the songs, he is a foul-mouthed social commentator. On addressing the ancestors in the song -Tateguru’, the song opens with , -Muri bho-o here tateguru?’ (Are you well/alright ancestors? Note that bho-o is street lingo. This shows disrespect for the ancestors which shows that he is divorced from his cultural setting. Maskiri defends himself saying:
-Being a social commentator, I have to touch on important issues In the song -Tateguru’ (ancestors), I warn the ancestors that the youth Are getting wayward, havachadzoreke, they now have a funny language, For example,’mita’ for million, and other strange words they are corrupting. Do you know of this sad development, I ask the ancestors– (The Sunday Mail:21 November 2004)
Fantasy, reality, pretensions and lies are all mixed up in Maskiri’s music. He claims that his song -True Story’ happened. This petty-lying has led many to say urban grooves musicians are not serious. Maskiri defends his fantasy saying:
-I was with this girl and we were having great quality time together , then she suddenly turned into a mermaid-.and declared that -Maskiri had been taken’, and that was a very scary experience and it can happen to you-.I dated a mermaid..- (The Sunday Mail:21 November 2004)
In defending his fantasy and lies, Maskiri shows lack of morality. However his music remain popular among the fans. One fan was quoted as saying:
-he has a unique smooth flow and slow rhythm that appeals to theyouths, while his lyrics are controversial -.we are tired of artists who want to preach good all the time– (The Indepenent:18 Jan 2004)
Maskiri’s music is popular, mainly because he tells -social truths’ which people are afraid of speaking. Many youths because they are always told to do good, which becomes monotonous and boring, hence the music of the likes of Maskiri gains instant popularity. Eminem becomes localized. Defending his song -Madam Mombeshora’, Maskiri said:
-Madam Mombeshora was inspired by a true story-.infact I took things from what usually happens at school. The form three and form four boys undergoing puberty are going to have a crush on a female teacher. Most , usually the free-spirited ones who dress in skimpy clotheing and tend to sit on top of the desk whilst lecturing, students have hots for them -people do not have the guts to say these social truths..- (The Sunday Mail:21 November 2004)
What Maskiri does not realize is that it is meaningless to say something which serves no purpose in life except negative behaviour in the youths. Most urban grooves musicians’s ego and freedom of expression has led them to say unnecessary things divorced from our cultural values. These are not the kind of issues one can say in front of his parents. Some things are better left unsaid.
5.6 CONCLUSION
Urban grooves music bears the marks of our culture. Though it has got some hip-hop influences, it was born out of a deliberate seventy-five percent local content policy by the government of Zimbabwe in 2001. When urban grooves musicians sing their music, they point out to the social conditions they are seeing in Zimbabwe. Most of them have never been to America or Europe, its only that they grew up listening to reggae, Rhythm and Blues, and other international genres of music, and they are trying to fit in their experiences into the Zimbabwean society. Experiences are different, people who grew up at a different time may not understand them because of generational gaps. To say urban grooves music is a product of cultural imperialism would be an overstatement, there is a difference between cultural imperialism and blending cultures. Urban grooves musicians are blending cultures, they are using their own original lyrics taken from the daily lives of Zimbabwean people. While urban grooves musicians have role models from Western musicians they are doing a local rendition of what their counterparts in USA are doing.
Maskiri and Xtra Large hardly represents the urban grooves genre as a whole, they are just a part of it. Where Maskiri uses vulgar and obscene language, there are many other level-headed youths, whose lyrics are clean and their music is enjoyable. One can give the example of Leonard Mapfumo, his lyrics are just clear of any vulgarities, and one can not compare him to the likes of Maskiri. Urban grooves music is diversified, if one wants some enjoyable honied lyrics, the music of Betty Makaya will provide that with songs like -Handikanganwi’ (I will not forget), -Ndichange Ndiripo’ (I wil be there) and Mafrique’s -Ndokuudza sei’ (How can I tell you). Forv humour one can listen to Xtra Large’s -Small house’ or -Uri roja’ (You are a lodger). These songs are branded as meaningless while -Tea hobvu’ by Zexie Manatsa is hailed as a great song, yet the songs are similar in their treatment of humour. Life is not all about meaning. Urban grooves music talks of lighter moments. It is music from the hearts of -innocent’ youths whose perception of the world has not been dulled by the numerous injustices like their elderly counterparts.
According to Wonder Guchu:
-most of the old-timers harp about poverty, HIV and AIDS, unemployment, divorce and many such issues that leave people sadder and more grumpy, listen to Macheso singing about zvikwambo (goblins), and divorce, then tune in to Mtukudzi, mourning long gone relatives and reporting abusive fathers to the world. And if you are not satisfied, take on Cephas Mashakada who will remind you of your fate when you die. Or worse still take a trip with the melancholy Leonard Zhakata as he groans about inheritance, lost love and unfulfilled promises. Then Hosiah Chipanga his music is philosophic and sarcastic, reminding you of the world’s cruelty, irresponsibility and social injustices-.- (The Herald:12 May 2005)
This kind of music can dry up all hope for living because of its gloomness. The reason why the music of the likes of Miriam Makeba can still be enjoyable today, is because it was happy music, it told of the positive side of life. Former Power FM disc jockey, Chaka D, who is now based in the USA is one of those people who believe urban grooves music is wholly Zimbabwean and argues that;
–contrary to reports that the music was copied from R&B and hip-hop, urban grooves music is wholly Zimbabwean, identified with the youths, and one of the best things to ever happen to the airwaves. Just like what South Africans did with house music to come out with a brand of music known as kwaito, Zimbabwean youths have done the same wirh urban grooves music– (The Herald:13 May2005)
Urban grooves music is not just a Zimbabwean phenomenon. In Tanzania they call it Bongo Flavour and is played on radio to the delight of listeners. In Zambia, there is a musician called Danny who sings urban contemporary music with the skill of American R&B stars R.Kelly. (The Herald:7 Feb 2004) Isaac Nyambiya also argues that, -most groups in South Africa sing Kwaito which is defined is a -music genre that originated from Johannesburg, South Africa in early 1990s. It is based on American house music (aka Garage music) beats, albeit typically at a slower tempo than those usually found in house music.-What amazes me about the criticisms levelled against our own stars, is how they are labelled copy cats because they sing RnB songs in Shona or Ndebele, and hence they are said not to be original. But it’s OK if Mandoza or Mzekezeke from South Africa did the same.- ( www.newzimbabwe.com/pages/urbangrooves2.14189.html ) Musicians all over the world have taken out something from each other’s music and it is now difficult to classify what is not Zimbabwean and what is Zimbabwean music. Globalization creates a lot of confusion, such that people do not understand whether they are being progressive or not, imitative or not and original or not. However one thing which is certain is that American culture has swallowed the whole world to the extent that others’ cultures are marginalized and disregarded.
Urban grooves musicians certainly lack cultural identity, but the environment in which they are has led them to be what they are today-a hybrid. What they are playing can be called Zimbabwean hip-hop.
ARTICLE RESEARCHED AND WRITTEN BY FREDRICK MATSHEZA. FREDRICK HAS A BACHELOR OF ARTS HONOURS DEGREE IN ENGLISH ( ENGLISH LITERATURE AND COMMUNICATION) FROM UNIVERSITY OF ZIMBABWE ATTAINED IN 2007. AT THE MOMENT HE IS STUDYING FOR A BACHELOR OF LAWS (LLB) DEGREE AT UNIVERSITY OF THE WITWATERSRAND IN SOUTH AFRICA.