2018: Mixed fortunes for the arts sector

Bruce Ndlovu, Sunday Life Correspondent
WHEN the clock strikes midnight on Monday, it will herald an end to a year during which the struggles of the Zimbabwean arts scene mirrored, those faced by the country at large.

No doubt, 2018 was a tough year. This, after all, was the year that Zimbabwe was to confront demons that have tormented it for the best part of two decades. Building on from the sweeping momentum and euphoria of last November was never going to be an easy task, and the country’s economic trials have shown how difficult it truly is.

With so many sectors affected by a stubborn economy that requires all hands on deck if it is to come to life, the arts were also not left untouched. Simply put, the economy sneezed and the arts caught a cold.

The economic challenges in the country had many knock on effects, with the most obvious being the lack of large numbers at live shows.

This was most obvious in the country’s second largest city of Bulawayo, where promoters were left smarting on many an occasion as fans simply did not show up in their numbers despite some high profile names being billed for gigs.

Okmalumkoolkat and Thomas Mapfumo rounded off a year of spectacular flops for the arts with dismally attended shows that underlined the struggles of the arts this year. With belts tightening across many households, it was no wonder that people chose to hold on to their money than spend it on wild nights out at shows. While gigs like Mapfumo’s initial homecoming in April and the ever green Unplugged pulled impressive crowds in the capital, such gigs were a rarity in other parts of the country.

To underline the struggles faced by the country’s arts practitioners and promoters in particular, one only has to look at the state of gigs that used to loom large on the arts calendar. Oskido’s Kalawa Homecoming perhaps had the greatest fall from grace, with a gig that used to fill an entire arena forced to consider some of the city’s tiny clubs as alternative venues. After going back and forth about whether the annual gig should be held or not, it was finally held as a pale shadow of its former glorious self.

While previously it had taken residence at Queens Sports Club, the music extravaganza was virtually homeless this year as it became a squatter at the much smaller Cosmopolitan Nightclub. It remains to be seen whether what used to be one of the country’s greatest music celebrations will recover and return to its former glory or it will fizzle out and fade from memory gradually. A change in the country’s economic conditions may be the tonic that Oskido’s famous homecoming needs to get off its knees and start running with other major music fests.

In this year of struggle, the Kalawa Homecoming was not the only one to find itself limping. There were no greater strugglers than the country’s major arts festivals.

Hifa and Intwasa were held under tough conditions as the organisers struggled to keep them afloat during a year in which donor funds, the lifeblood of many of the country’s arts initiatives, began drying up.

The fact that the festivals were held at all shows the dedication and resourcefulness of organisers that have found a way of swimming against the tide while all around them sink. As others jump ship as pockets dry up, they have stayed at the helm to steer these precious arts festivals to calmer waters.

While the arts scene as a whole continued to struggle, it did not prevent individual artistes from flourishing even in these extreme conditions.

Jah Prayzah continued to dominate, with rival Winky D also keeping him on his toes. Perhaps the year’s defining moment was not the continued excellence of these two leaders of the new school but the return of Thomas Mapfumo, a king that had been wallowing in exile for over a decade.

The lion of Zimbabwe roared again as his countrymen welcomed him with open arms after his lengthy stay outside his country’s territory. On the other hand, Oliver Mtukudzi continued his remarkable run, as his various bookings outside the country reinforced his status as both Zimbabwe’s greatest export and its most accomplished artiste. Although a health scare towards the end of the year blighted what had been an otherwise glorious year for Tuku, he still remains an inspirational and tireless music virtuoso whose longevity is unmatched.

While old stars continued to shine, new entrants showed off their glow as well with a string of hits. Enzo Ishall and Jah Signal gave the country anthems that surpassed songs released by their more established counterparts and as the year ends, all eyes will be on them to see if their can carry their momentum into 2019.

However, while new stars made their entrance, others were making their exit. Rapper MC Villa’s passing was a reminder of how fleeting fame and success is while for the Bulawayo arts scene, the death of Joe Maseko left a gaping hole that will be impossible to fill.