| Charles and Olivia Charamba |
Zimdancehall has upstaged other genres to become the household phenomenon of the moment.
While traditional genres are struggling for survival, dancehall is flinging its mojo into previously closed spaces.
Ghetto chanters are staking their claim to the showbiz presidium, and the nation is reverberating along.
It is the reinvention of culture – hence the growing number of debates occasioned by this latest urban movement.
Issues of morality and durability have been raised as the downside of the genre, talking points which needs to be addressed for the good of both the artists and the audience.
Whose interest, for example, does the propagation of drug abuse, violence and sexual immorality through music serve?
What makes Zimdancehall music, in spite of its popular reception, less durable and socially applicable compared to other genres and how can this be corrected?
While art is not the site for inhibitive gatekeeping, it remains an influential field of discourse and it is important respond for the greater good.
With this imperative in mind, the Zimbabwe College of Music recently convened a Dancehall Indaba where pertinent issues were thrown into the ring.
Gospel thoroughbred Pastor Charles Charamba presented a paper entitled: “Effects of Abusive Language, Rowdy Behavior and Violent Conduct by Musicians on Society and Music Industry.”
Pastor Charamba acknowledged the trailblazing accomplishments of Zimdancehall artists and shed light on how the phenomenon can be made a more authentically Zimbabwean experience.
“We don’t have to turn this event into a witch-hunt exercise. The practitioners of Zimdancehall must be saluted for coming up with a style that is so peculiar.
Charamba said the import of his presentation was not to pontificate as someone who knows it all but point out ways of growing the genre from the perspective of a fellow artist.
He, however, noted that violence in music destroys nationhood. “It promotes fragmentation along sectarian, tribal or other divides and undermines the sense of unity and common purpose,” Pastor Charamba said.
Charamba also highlighted the threat of cultural bankruptcy. “We destroy the artistic heritage bequeathed to us by the industry’s fore-runners.”
He also cautioned against a culture of lawlessness, hostility and hate which has found expression in Zimdancehall.
He gave the example of the fall of Goliath which he said started verbal warfare only to degenerate into a national crisis.
Charamba also pointed out that the current direction of Zimdancehall misleads youths and inundates them with negative memes which are not easy to erase.
“Moses took them out of Egypt but couldn’t take the Egypt out of them. What we instill in the little children may not be easy to retract,” the “Moses, Moses” hitmaker said.
“Artists are idols emulated by younger generations. We must be wary of negatively impacting them,” he said.
“We need our conscience to regulate us, but if we stretch the authorities too far, we may find ourselves being unnecessarily asked to account for every song we sing.”
Charamba also pointed out that rowdy behaviour diminishes local musicians’ chances of being invited elsewhere, as few wayward artists can cause everyone else to be tainted with the same brush.
“As the Shona proverb asserts, ‘Mangachena inoparira parere nhema.’ Every player will be incriminated. This closes the door for other people’s opportunities,” he said.
“This diminishes the breath of our territory; some music dealers and air proprietors may shun our music. Wal Mart, for example, seriously regulates all music products brought on its shelves.
“The same conduct is spreading to all genres including church music. We may adopt the same language when conversing with dignitaries, parents and even God,” he said.
Pastor Charamba urged artists to be creative in a positive way: “Artists are inventors; if you can’t find a word that suits your story, create one, a clean one.”
He encouraged tolerant co-existence and refrain from malice and “beef.” “Don’t take pride in controversy and criminal behavior. Controversy is not a virtue, it’s not a good attribute,” he said.
“It’s better to seek arbitration where there are irreconcilable differences. Don’t reciprocate insults. A gentle answer turns away wrath. Forgive and stay focused.
“Let’s be guided by both tenets of Christian faith and ubuntu. We don’t have to take pride in being disgraceful,” he said.
He urged artists to shun selfishness and self-glorification and to be accountable not just to their immediate acquaintances but to the community.
He urged society to show love to the young artists, mindful of their backgrounds as some of them have never had the benefit of good counsel.
“Let’s taste what we prepare. Can your mother, son, father-in-law attest to the goodness of your song? Can they listen to it without skipping some section? Can they watch you perform?” he queried.
Charamba also pointed out that it is possible to adopt the essential from the originators of the style while adapting it to a clean Zim perspective.
“Although soccer, for example, is said to have originated from either England or China, it’s interesting to note that it was bettered by latter adopters it such that England hasn’t taken the World Cup since 1966.
“We can positively develop this music which originated from the Caribbean to levels that can be appreciated worldwide,” he said.