By Takudzwa Kadzura
Music
gives a momentum to mass consciousness. Just like in our liberation struggle,
songs boosted morale and sped up the process to gain solidarity amongst local black
Africans. That is the power of melodies when done right. In our history
archives, guerillas are filmed and pictured with AK 47s clutching on their
buttocks as well as dancing at bases, a secret rendezvous where they had meals and
other physiological needs catered for.
Choruses
provided a therapeutic escape from gruesome war experiences particularly the
smell of death and hopelessness. Amongst a host, songs immensely contributed to
the revolution as well as adding rhythm to the gunshot echoes.
Outside
of Zimbabwe we have seen artists getting immortalized for influencing and
impacting revolutions. Issues to do with race discrimination, during the
apartheid era, safely captured in Lucky Dube’s music (SA). The iconic Bob
Marley wailing throughout the Rastafari movement to its full inception and the
troublesome Tupac Shakur’s raps sparking black empowerment against systemic
white supremacy. With the advent of ever-evolving digitalization, artists of a
similar pulse have capitalized on the provided proximity to reach out more and
empower listeners with consciousness.
Musicians
nowadays are aware of the need to actively participate in the socio-economic
and political landscape. We can refer to ‘Artists
For Health’ spearheaded by Tanga WekwaSando, the Mtukudzis (both son and
father) as they sought to spread cholera awareness across the country in 2008.
Or We Are The World which had 46
vocalists with special mention Michael Jackson to raise money for African
famine relief (although this form of pity from the global north is controversial because of how it perpetuates negative stereotypes, most times devoid of context, but, story for another day). Art conveyed to impart change is art cut from the soul. And pure,
so pure that we become compassionate and through compassion humanity is saved.
We
view the song [and video] Munamato weGhetto by AK Luve Mol in the same manner. Do us a
favor and ignore the melody and cadence. Do yourself a favor by giving full
attention to the lyrics. This is a songwriter acutely aware of his environment and
embodies a common goal of prosperity – hoping
one day the ghetto smile, hoping one day it will be for us. AK Luve hails
from the starved side of Samora Machel where most of Harare’s high density suburbs
are located – kuMufombi tiri kuda madhombi.
Across the width and breadth of Zimbabwe youths are waking up to suffocating
realities emanating from the existential crisis where they have to source bread
through honest and unscrupulous means. Some are not even sleeping nowadays. In
a country with deep-seated inequalities the youths are painfully settling for
crumbs as livelihood – tiri kuda mari
yemaputi.
Art
mirrors reality and subtle satire is an effective measure to indoctrinate
truths which may be censored or underappreciated by mainstream media. Munamato
weGhetto’s video impeccably portrays a true setting of Zimbabwe as the
cinematography was performed in Mbare which is the soul of all ghettos. You
mustn’t have missed the theatrics of AK Luve Mol dancing to such a cold message
with his palms religiously put together. The shades covering his eyes make a
spectacle as he strolls in the dusty streets. The beauty in this piece of art
is its ability to capture our reality and how we have become carefree as a
nation. Reinventing the chikuru kufema mantra – dombo racho ririkurohwa ghetto rakaoma.
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| AK Luve Mol, shot at Masvingo eh Jericho Records |
Zimbabwe is a nation where things fall apart with the dawn of each day but despite all the brokenness the people in the ghetto are steadfastly holding on to the last tail of hope. Hope that musicians like AK Luve Mol have created with this masterpiece. Munamato weGhetto is an anthem for the youths in the trenches of Chipadze, Vengere, Glen View, Dangamvura, you name it! Kudos to the director Taurai Zidya (Pikichayedu Films) and Jax da beat bully for summoning the hopeless souls roaming the ghetto to this intercession.
And because of such contexts, here is a befitting excerpt by fellow author Brandon Svongwa on Munamato weGhetto by AK Luve Mol when he got in touch with the artist,
….No, far from it. The point is if your music resonates with classics within the Zimbabwean context you're somewhat bonafide. In other words; as I like to call it, respectful of the past without being harnessed by it. That creates a seamless discography fabric easily traceable and thus fully appreciated. In Art as you know, nothing is more pertinent than a custodial sustenance of identity which branches into tradition, culture, ethos, values, ethics etc. I'm saying this against the background of your recent single, Munamato weGhetto. To me that track is par excellence. Arguably the best offer in Zimbabwe yet. Without a doubt classic. But all these things are noticeable to the few of us who have third eyes, thanks to the Lord. Hence we're a significant minority, the irony of it all. Way forward? We take deliberate action in directing the attention of our audience to material value in what we're publishing or broadcasting. Whatever the case might be, the onus lies on us.
How lovely.
Watch the video for Munamato weGhetto by AK Luve Mol via this link on YouTube, leave a comment and subscribe too.
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