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Zana’Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture

The moment you start discussing or debating on price, know that the value and experience coefficient in your product is losing its foothold.

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Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana'Kay

Former Miss Zimbabwe 1st Princess, Former Miss Bulawayo 2005, Architect, Poet, Blogger, Cultural Activist, and Founder and Creative Director of the brand ‘A Tribe Called Zimbabwe’ – Nomakhosazana Khanyile Ncube, a.k.a. ‘Zana K’, is doing it all, and she’s just not stopping. The moment she steps into a room, you cannot help but notice and feel her presence. Talking to Zana will leave you feeling enchanted and inspired. She describes her brand as a royal brand, whose thrust is to celebrate Zimbabwean culture and heritage through fashion and architecture. Read on to find out more about this intriguing former beauty queen and intellectual.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana K

How would you describe yourself? What makes Zana stand out in a crowd? 

I’m an INTJ woman according to the Myer Briggs profile. Introverted, Intuitive and constantly Thinking and Judging. I’m often the silent observer in a crowd, processing as much information as I can gather about the environment and people. Therefore, I love people and the spaces where they are found. I love to learn, observe and study things and people, and I’ve been told I’m a little weird because of this. I guess what also makes me stand out is my somewhat divergent outliers’ perspectives and takes on things. I dress differently, speak differently and see things differently. Perhaps all of these ‘differences’ are manifestations of the curious explorative mind I have. I’d like to think I wear my skeleton on the outside. I’m very cultural and assertive, and that too tends to stand out easily.

What influenced your decision to study architecture?

I loved buildings from a young age, and was fascinated by the art of building or constructing things. I enjoyed making things as a child, and architecture was attractive to me because it offered me the chance to make big things… like buildings.

I, like many people, don’t know much about architecture. In fact, all I know is that one has to do Technical Drawing at school in order to become an Architect. Can you tell us more about your journey to becoming an architect? How easy/difficult was it, and how did you overcome the challenges faced on that journey? 

It’s been a very long journey, one that would fill pages were I to document it. All I can say is I followed my passion, and made sure I gave it my all throughout every step. It’s difficult to be in a male dominated field. Many times, I was an only girl in class, or one of only two females. It’s a competitive environment, and you need tough skin and grit. Architecture is one of the most demanding programs of study at tertiary institutions, because it’s both a science and art subject, and it requires a lot of drawing (technical and creative), making (model building), reading (understanding humanities) and calculating (mathematical and engineering thinking), all simultaneously.

Designing a space for human occupation requires one to think like the proposed users, to imagine function and experience, safety and pleasure, environment and climate, structure and materiality etc. The architect is always thinking about all these things. It’s a discipline that draws on all possible faculties of the mind – so I can say that has helped me to be a multidimensional thinker. Indulging and exploring other art forms like fashion design, poetry and writing, provided the much needed therapy, inspiration and motivation to keep going.  I’m still learning, and it will probably be a life long journey, but it’s definitely one I have enjoyed tremendously thus far.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana K

How did you merge your love for architecture with your love for fashion design, considering the stark differences in bricks/stone and fabrics? Are the two inter-connected in some way?

Architecture is in essence, the art of creating spaces – habitable spaces, and in my view, fashion is also the art of creating spaces – intimate spaces. Whereas in architecture one would design a space for multiple people or bodies, in fashion, one designs a space for one body, as it were. A garment is inhabited by one body, and a building is a garment that many bodies inhabit. In this regard, I see no difference between the principles in architecture and those in fashion, because both are about tectonics… which is the technique of how materials come together. The same way I envision making art out of how concrete, steel and glass join together to form an aesthetically pleasing building, is the same way I make art out of how cowhide, chiffon, feathers and horns come together to form a beautiful garment.

The simultaneous transition between architecture and fashion for me is easy. The same ‘presence’ and experience I want to create in my architectural spaces, is the same presence I like to invoke in my fashion garments, which is Royalty, and the celebration of rich African/Zimbabwean culture. I love what I do!!!

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana K

You have always been a creative from a young age. What motivated your decision to start your brand, A Tribe Called Zimbabwe, and why using cowhide in particular to make the outfits and accessories?

I realised that there is an urban energy that exists on the continent that is not being branded and packaged into products. There is a profitable opportunity to build an African brand that celebrates Zimbabwe’s new sense of identity and explores creatively what it means to be an African and Zimbabwean in the 21st Century. There is a need for a brand that celebrates the unique and rich heritage and culture of Zimbabweans, and showcases our fashion and architectural identity to the world. Zimbabwe has many tribes; the Ndebele, Kalanga, Fengu, Tonga, Venda, Banyai, Sotho, Shona (which on its own is a name embodying a rich ethnic Bantu people consisting of various tribes, the Zezuru, Rozvi, Korekore, Karanga etc.) Yet there is one thing that we all have in common regarding the things we value, and that is cattle.

Cattle play a very strong role in Zimbabwean society. They are fundamental to our economy, and play very important socio-cultural roles. A Tribe Called Zimbabwe brings us all under that one umbrella that celebrates our shared values, and represents a united people who are proud of their individual ethnic identities. So cowhide then became that natural choice material. Not to mention that in my culture, it represents wealth and royalty, and I want Zimbabweans to remember who they are, and bask in the glory and wealth of their heritage ad culture.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana K

Who is the ideal client for A Tribe Called Zimbabwe products?

Every Zimbabwean is my ideal customer, and everyone who aspires to be a friend of Tribe and Country, and share in the celebration of our culture and heritage.

You’ve had the privilege of dressing some high profile personalities like Busisa Moyo, Ayanda Burotho and iNkosi uBulelani Lobengula-Khumalo, among others. How does that make you feel when you reflect on the journey of how you started your brand with only US$200, to where you are now, dressing the ‘who’s who’, and supplying your products to people in countries as far as America? 

It’s a humbling experience, and it affirms the biblical scripture that says that “your gift /talent will cause you to sit with kings”. I’m glad that I was bold enough to walk in the path of my calling. Regardless of the obstacles or the humble beginnings, I kept pressing on.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana K with Sandra Ndebele at Roil Bulawayo Arts Awards in A Tribe Called Zimbabwe Outfits

You are also co-founder of Umakoti by Nkazana Royal Bride Exhibition. Can you tell us more about that and what/who stimulated the decision to make cowhide bridal wear?

Umakoti by Nkazana Royal Bride Exhibition was a jointly planned exhibition, whose vision was to exhibit the textile work of Ganu, and the cowhide work of A Tribe called Zimbabwe, whilst sharing the common values of celebrating and promoting culture and women.

You recently made exquisite décor pieces for your home office using materials such as cow horns, used bucket handles, old bicycle wheels etc., and the results were really stunning. What stirs your creativity, and did you learn art at school, or is it an inborn gift?

I never studied art or fashion. My art and fashion skills are self-taught, and I guess I’ve always been inherently a creative. I’m inspired by culture and materials. I can look at a material and start imagining the many ways it can be used or transformed into something else. That’s what creativity is I guess… a sense of imagination.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana’s Hand-crafted Office Décor

The unfortunate side of being a creative is that sometimes you have to deal with issues like plagiarism of your designs or your work in general. You have experienced that more than once, and that has made you outspoken about protecting Intellectual Property (IP). How does it make you feel when, as a creative, you give your all to your craft, giving birth to your idea and bringing it to life, only for someone to appropriate your whole design process and ultimately the whole product, passing it off as their own?

It’s a conflicting feeling. On one end it’s disheartening and borderline infuriating; on the other it’s somewhat flattering that someone lusts after your creativity to the extent of plagiarism. However, feelings can’t get in the way of sound business ethos and practice, and thus I speak out and take action. It’s not easy to register a patent for any business, especially a small one, as it is an expensive feat. However, it is critical as rudimentary work, to patent as much creative work in order to make easy any exercise of rights to one’s intellectual property. The moment work leaves a metaphysical state of being an idea to becoming a tangible product or written document, it is already one’s intellectual property.

Whilst a country like Zimbabwe may seem like easy prey to violations, firstly we must understand that ideas themselves Are Not Poor. Ideas possess such immense and infinite potential for wealth, it is only when an executed idea fails can we rethink that potential. It’s important ideas and to protect our ideas and the processes proceeding thereof legally. Copycats will always be there and subject to prosecution but at A Tribe Called Zimbabwe we sell more than a product, We sell an experience, a zeitgeist, a milieu, a Genus Loci, as we call it in architecture (i.e. , spirit of the place)… a vibe, iSomething nje ethi, “I’m Zimbabwean”, kaThat thing kanoti “Proudly Zimbo”.

So whilst a few may be swayed to buy a Chinese replica, a true lover of Tribe and Country is loyal to the original authentic A Tribe Called Zimbabwe experience. The same way true lovers of wine are particular about a wine’s terroir, i.e., where its grown, how it’s made, this is the same way culture or art should be consumed. This kind of thinking and market consciousness then throws the foreign imitations off the mental shelves of a customer.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana K wearing her renowned crown

In a country like Zimbabwe, patenting one’s products can cost up to US$3,000 per product, and getting lawyers to fight copyright issues on one’s behalf is just as expensive. What do you think can be done by creatives to raise awareness of the need to curb plagiarism?

Creatives simply need to be educated on what IP is, what it constitutes, what infringement is, and how they can avoid the same. It doesn’t help to have a small batch of creatives having this information – all creatives must understand this subject, so that we relate to each other well where these matters are concerned.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
A Tribe Called Zimbabwe Merchandise

The legal fraternity also has a role to play. How do you think, or what do you wish they could do to best assist creatives to raise awareness of the above-mentioned issue? Do you think having a Creatives Council, or in this case a fashion council in Bulawayo or Zimbabwe as a whole, would help creatives by protecting their rights?

I think a Creatives Council will definitely bring some structure and protection where IP rights are concerned, but we need to understand that law enforcement should be a last resort in any society where people are grounded in good ethics and morals. The very act of stealing or infringing on someone’s intellectual property, points to an ethical or moral decay either within that person, or society. So the first port of call would be in my opinion, to educate creatives on such topics, before we create bodies that respond to such delicts.

You mentioned to us that you were raised by a very strong mother who was certainly not a pushover, and in essence, she passed on those character traits to you. How important is it to be able to stand your ground in the creative industry, seeing as not everyone may like your products or agree with your style or pricing?

Never offer a product. Anyone, given the right tools and skills, can offer a product. Offer instead, an experience! That way you know your value. You understand your worth, and your product speaks to people that understand the same. The moment you start discussing or debating on price, know that the value and experience coefficient in your product is losing its foothold. It’s okay that not everyone will understand or relate to a product, but everyone understands value.

Zana'Kay Talks About A Tribe Called Zimbabwe, & Why She Chose Architecture Asante Afrika Magazine
Zana and her mother at Zana’s graduation

What advice would you give to a young African girl who would one day like to become an architect or a designer with a superb and exclusive brand like yours?

Talent is not a substitute for work. No matter the career choice, understand that you are unique, and have inside you a unique offering to the world. It’s your responsibility to work hard and refine and articulate that talent and gift to the world. There can be a hundred thousand architects, singers, dancers, doctors or fashion designers… but none just like you. So never quiet that inner, unique talent that you have, just so you fit in.

Where do you see your brand in the next 5-10 years? Our vision is to grow into Zimbabwe’s centerpiece of Afrocentric Apparel and Interiors, and mastering the art of translating our African identity and heritage into relevant modern products. We aspire to make an overwhelming impact in the fashion industry by creating a high consumer demand for our products through strategic relationships, advertising and participation in local and international fashion shows, as well as other relevant trade shows. We envision launching a unique line of fragrances and accessories alongside a unique Afrocentric apparel line, and to grow from being a home industry to a prestigious brand, with stores in strategic areas in Zimbabwe and Africa. We aim to use this fresh approach to Afrocentric fashion to unlock a new profit source from the targeted market. A Tribe Called Zimbabwe has the potential to become a highly regarded resource in local, regional and international market.

Connect with Zana:

Website:  www.atribecalledzimbabwe.com
Blog:  www.zanakay.wordpress.com

LinkedIn: Nomakhosazana K Ncube

Instagram: @zanatribequeen  

Twitter: @atribecalledzim

Interviewed by Gugu Mpofu

Features

Tanto Wavie | Founder of TrapSu, A Genre of Vibes and Reflection

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Tanto Wavie | Founder of TrapSu, A Genre of Vibes and Reflection Asante Afrika Magazine

The Zimbabwean music landscape has evolved in a big way during the past years we have witnessed the creation of new genres and new sounds. From the country’s infancy right through its maturity, we have been blessed with genres such as Sungura, Museve, urban groves, Zim dancehall. These sounds have played a crucial role in defining the culture and Identity of the Zimbabwean people. Our feature artist has done a remarkable job of fusing the sound of old, and the new sound of the times. We introduce to you Tanto Wavie

Zimbabwe is a country known for its hardships, corruption, and bad press overall. Through the midst of all these negatives, Zimbabwean art still thrives. As much as it is not lucrative for the collective at large most artists still find a way to release and make music. This one artist is no exception, Tanto Wavie is making waves through his music, no pun intended.

I first heard of Tanto a couple of years ago through a random YouTube suggestion of his song John Chibadura. This song is a tribute to the late John Badura a famous Zimbabwean Sungura artist whose music defined the fabric of the times in the early 80s to 90s, a legendary figure etched in the Mount Rushmore of Zimbabwean music greats. The intense base guitar Sungura fused with hip hop and Trap beats in a genius and flawless composition made me an instant fan. This was the beginning of a beautiful sonic relationship between me and this muso.

All his records laced with the vibrant and high-energy producer tag at the beginning of each song “chi beat cha Tanto,” translation “Tanto’s beat”, you know you are in for a treat. Many have tried to fuse or sample Sungura or Museve, only to produce mediocre results, leaving much to be desired. On the other hand, Tanto has successfully found the secret formula to this magic, in his cauldron he cooks up a concoction of a new brand of Trap and Sungura, cleverly dubbed Trapsu. He creates timeless jams I believe are still yet to be discovered and pieces that will echo through the passage of time. 

With releases such as Sungura Museve a pure non-skip album that features stand-out tracks such as Mudhipisi, translation a “cop out” or “straight up fool always killing the vibe for everybody”. Tanto narrates a story of an individual who’s always messing everything up when people are trying to live their best lives and have a good time. In true Sungura fashion, the songs on the project are very descriptive and comedic at best but trust me! the man’s projects are no joke, he is one to be taken seriously.

Tanto Wavie | Founder of TrapSu, A Genre of Vibes and Reflection Asante Afrika Magazine
SUNGURA MUSEVE – TANTO WAVIE

The album is also graced with Gems such as 007, Dzinga Munyama, Mabhachi ft Denim Woods with a killer verse, Heart Yangu a soulful Trap+Sungura+RNB just to name a few. After Sungura Museve he has dropped a number of projects and singles all bangers. The future is bright for Tanto and personally I can’t wait for the new drop this Friday “Wake Chaiye”.

In closing, I believe an artist like Tanto Wavie is the missing piece to the future of the Zimbabwean music scene. He not only embodies the heritage and legacy of a sound that carried and groomed a whole nation, but he also brings the energy of the present-day with artistic integrity and vigor. Tanto is one to most definitely watch out for. Zimbabwe, Africa are you ready???

Tanto Wavie | Founder of TrapSu, A Genre of Vibes and Reflection Asante Afrika Magazine

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Features

Moonchild District is in the Building and Propelling Young Artists Forward !!!

An interview with Moonchild Rye, founder of Moonchild District. An arts movement in Zimbabwe.

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Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine

HAZEL Q. LIFA

Creativity of the brain is low key blasphemy…

What do you do when the world doesn’t make it easy for you to do what you are best at? Give up and call it a day? A young poet from Zimbabwe turned to the avenue of innovation and created a space for himself and other creative like himself. For many creatives in Zimbabwe finding a space let alone an uncensored environment where one can express themselves and create is a challenge.

The African nation’s economic challenges have left the Arts sector in a bit of a bind as creatives are finding it hard to connect with their peers; find welcoming communities and realise financial gain from their artistry. Thus sadly many are leaving their art for more stable professions. But the resilience of poets like Moonchild Rye aka He of the Moon formerly known as Prince Rayanne Chidzvondo has led to the birth of a powerful alliance of creatives and a worthwhile business. 

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Moonchild Rye

Zimbabwe is heavily talented, the only problem is, how can the art industry thrive in a state where no other industry is functioning. It’s not a shock when people won’t pay a $2 ticket to hear you perform, to a majority, it’s soft life, a luxury they cannot afford.

According to Moonchild Rye, “The system is also very conservative, you find that they’re still hiring Albert Nyathi years after his prime has long been established, do you not think we have other poets in Zim? Either way, Moonchild District will be the change to all this. We will make it hard for them to ignore us.”

Poetry is not my calling; I called it in order to find ways to heal myself.

Moonchild rye

Moonchild’s poetic journey (pun intended) began as early as grade 7. Despite imaginable discouragement from family Moonchild Rye remained optimistic. Moonchild Rye proudly states, “I speak the audacity of greatness into my bones; my ancestor’s whispered a talent into my marrow that sings in my head and heart, my hand dances when it writes. I am the voice of a generation and the generation of this voice.”

Moonchild Rye started off his fast-growing arts movement in May of 2021 with Moonchild District’s Night of May, which was a huge success followed by a slew of sold-out Moonchild District events. We caught up with the poet/media practitioner/digital marketer/content creator.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Moonchild Rye with guests at a Moonchild District event.

Can you take us through your journey to realizing poetry is your calling?

I started writing when I was 12yrs and performed for the first time for a crowd at a Highlands Primary School’s Academic Eve. Poetry is not my calling; I called it in order to find ways to heal myself. Writing is a process of healing, recollection and establishing a path back to myself. It is a lie if you ever hear someone say, “I write for people”. It’s only the adult in me who has chosen to become a full-blown storyteller but I speak my heart, my healing, and my purpose. I speak the revolution betrothed to my tongue way before I was born.

Do you have any particular cause or topic you enjoy tackling with your poetry or do you create as you are inspired?

I create as inspired, but I have generally gravitation toward issues of mental health and human rights. I’m also a bit of a love poet. Like I said, writing for me is healing. They are words, stories and poems that are razors under my tongue. The poems I resist dig deeper into my chest like a buried soul mate.

They grow blurry and distant until I can’t find the sharpness but I can still taste how it made me feel. The feeling of poetry inside me can be like a dull hunger, the distorted memory of a bite. I can’t explain my creative process, it’s like magic spread over time and I’ll be the closest thing to God. Creativity of the brain is low key blasphemy. We are all creators.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Call Me Refined on the Moonchild District stage.

What was your first impression of the Zim arts scene when you started?

My first thought was “There’s no one or anything like me, they need me and my mark is different.” This was in 2015 when I stumbled upon my first open mic scene.

Zimbabwe is heavily talented, the only problem is, how can the art industry thrive in a state where no other industry is functioning. It’s not a shock when people won’t pay a $2 ticket to hear you perform, to a majority, it’s soft life, a luxury they cannot afford.

I also saw the hunger of many artists and in my head, it was always my father reminding me I would not amount to anything, I believed it because the people I saw were hungry, with guitars on their backs and Shakespeare’s sonnets on their tongues. I saw an industry I didn’t want to be part of, but it’s the need to do things differently that persistently calls me to continue pursuing my dream and the dreams of others like me. I vowed to take business to the arts, a work in progress still.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Artists preparing to take the stage at a Moonchild District event.

Most of all, I found family. I found people who were willing to accept the difference I had been persecuted for. I found belonging. I found the oneness of my heart, mind, body and soul. I found that there were stars that stammered to lend us the words we lost in the darkness. I found I was a writer, a content creator, a creative, and a storyteller, I found myself closer to the things that gave me joy, I found a path and purpose. I found a light in the midst of darkness. 

You mentioned instances of censorship in Zim’s creative sector; care to tell us about the worst case you experienced? You don’t have to mention names.

Everyone is an active gatekeeper of your work because they are scared for you. They tell you what to say, or how to say it, they ask you to rephrase, to remove something completely, and not mention names. They remind you of so and so who went a similar way. When my mother hears me planning, she asks “Is this what you have really chosen?” not to say she doubts my career path, it’s the way she says it, the look in her eyes to say “are you safe?”

Artistes are not safe.

We are not safe from ourselves, we are not safe among ourselves.

We are not safe in the world.

No one is safe. Our minds are surely ours but our bodies? Our bodies have never belonged to any of us really; we suffer because of the bodies that house our gifts. We are the voice of a generation but the system will always find a way to silence us.

Your experience as a creative in Zimbabwe led you to create Moonchild District, what was the thought process behind its epiphany?

I was tired of gravelling for people to include me and see me. When people won’t give you a seat at the table, create your own fucking table, one day they’ll wash your feet and massage your guests. In other words, I am going for everything they said I’d never have or do. Moonchild District is the love child of rejection and determination, they know I’m unstoppable but people tried to make me feel small so I would reduce myself to fit their narratives.

Moonchild District is a movement of artists like me; we outcasts have to stick together.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Moonchild District audience enjoying the masquerade event.

So far what is your favourite Moonchild District event to date and why?

Every show is unique in its way; we are constantly trying to outdo the last event. The masquerade, however, had us host our biggest show with the biggest audience. So I think it’s worth noting that our audience grows bigger.

Which Moonchild District event proved to be hard to put together and how did you power through?

I hosted a show where 6 out of 10 performers didn’t turn up. I had to open the floor to the audience; fortunately, this is how we ended up hosting open mics. The audience loves the mic just as much as we do. Also, the financial aspect of every show we host always has me sleepless and anxiously biting my nails. We are an unfunded movement, and it’s not pretty.

Specifically, who is the Moonchild District movement open to and how can interested creatives join?

Moonchild district is a movement, I merely lead it. For one to join, they simply follow the movement and drive us where their heart seeks.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Ndanatsa gracing the Moonchild District stage

Where do you see your career as a poet and Moonchild District in the years to come, let’s say five years?

I say this on behalf of the whole group; we are trying to feed ourselves, grow ourselves, to just make it to the next day. 5 years is a long time, today is survival, and so is tomorrow. That’s what counts right now. There’s no blueprint to this life thing. I am a visionary who is still scared that I’ll die with my visions whilst everyone fights to stay alive well after I’m gone.

With Moonchild District’s business aspect, what do you consider yourself to be more of a poet or businessman?

We just want to earn money through our crafts like anyone else. Why shouldn’t the words that feed your soul pay my bills? Why do we represent our culture and creativity when it can’t even raise a morsel of sadza to the lips? We want money. We are also motivated by money. We also want to write, sing, and speak for money. We want to be taken seriously like everyone else.

Any thoughts on how to further improve Zimbabwe’s Arts space?

A lot still needs to be done. We still live in a world where it is not viable to be an artist. The economy quite sucks, it’s hard to create sustainable and consistent development. Artists need strong support and administrative structures to help them build and grow. They also need to come together to harness and create art collectively, whilst sharing resources, contacts and information.

Organizations in Zimbabwe would like you to believe they’re helping everyone by funding a favourite or regular, but the truth is a lot of artists are failing to sail off, even to begin. Resources, information and platforms are accessible to a few who use this for themselves whilst artists part of their movements or projects feed off ‘exposure’.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Thando on the Moonchild District stage.

Everyone by now knows Exposure will not pay bills or feed you.

The government would like us to believe they’re helping. There’s no platform for poets, for writers, they care about sports and Jah Prayzah, the rest of us are unseen, no matter how hard we try.

The Ministry of Youth, Sports, Arts and Recreation established a relief fund for artists in 2020, but it’s not a full substitute for lost earnings. And as you may suspect, this was clouded with corruption and nepotism, just like everything else in this country. If Moonchild district can conquer these problems in the next 5years, we can be the leading creative hub in the region:

  1. Lack of resources to create, manage and commercialise creative art in youth consequently hindering growth and sustainability for creative youth in Zimbabwe.
  2.  Lack of guidance socially, financially and mentorship towards harnessing their creative energy from a young age, there is a need to fight the archetype of the broke creative which is a stereotype that has made many lose before they began.
  3. Dependency on informal labour and gigs in a demanding economy, leaving most creatives to abandon the creative economy chain.
  4. Administrative structures are also lacking in most creative groups. Most creatives fail from trying to be everything, from the leader to the writing, the script, recruiting artists, paying them and booking venues, accounts, reviewing their own lawful agreements etc. There are also no structures to mobilize these diverse creatives into hybrid content creators.
  5. Failure to adapt to the emerging social and cultural changes in media and production, especially in the Covid 19 era.
  6. There is not enough mainstream representation of creative arts and artists to communicate value proposition, most creatives are swapping their creative talents for priorities that feed them. There is not enough integration between creative art and communities
  7. The lack of hybrid, quality, competitive content from creatives because of a lack of resources to collaborate with other creatives or assemble production requirements and surpass its value. This hinders the growth of the Zimbabwean creative economy as content remains incompetent no matter the invested talent under limited resources.
  8. There is no support for creative start-up businesses and innovations, the government does not guide or finance start-up businesses and creative entrepreneurship.  They lack micro-enterprises that represent them as external entities that would like to support the creative sector in more substantial ways.
  9. There are no cross-sector partnerships to play an integral role in the effective use of the arts and creative industries for maximum promotion and productivity of the creative youth. They’re only limited to what they know, platforms that do not pay for exposure and cannot build sustainable growth beyond the creative industry.
  10. Creative youth are 3 times more likely to suffer from depression, there are fewer resources equipped to provide artists with mental health care and self-navigation, making drugs, unproductivity and suicide a commonality within creative communities. Art can be used for healing, as therapy both to the creative and their audience.
  11. The lack of spaces and platforms for artists to meet, socialize or work on their projects and gather resources. There are not enough spaces that allow their freedom of expression to build towards their highest potential, and surrounding environments are hostile and unaffordable for the average creative youth. There are no platforms for them to manifest their ideas and visions without in house gatekeeping. Artists need spaces and platforms that allow their wings to grow, that allows them to rise up to the task and excel in their fields.
  12. Creatives lack information that allows them to excel towards sustainable growth. Creatives who are empowered with business management and technical knowledge concerning their crafts are able to make wiser decisions concerning the direction of their art and how to build a successful enterprise from their work. They lack the skills needed to present themselves, build their individual brands and access the beneficial necessary information to drive them forward. 

Do you have any particular creatives you wish to work with and why?

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Chengeto Brown

Ah yes! Chengeto Brown – she’s poetry walking. Hope Masike  – I stan a legendary queen and Dudu Manhenga. Also, anyone else there making strides, poetry really can be infused anywhere and with anything. Take us to fashion, and music, we will be there.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Hope Masike

Most think pursuing work in any form of the Arts is a waste of time, what do you have to say to that?

It probably is. I guess you have to allow me to fully find out, yeah?

According to Moonchild Rye, there are plenty of shows to look forward to from the movement. Look out for, A night in May scheduled for the 21st of  May 2022 (2nd edition) and Nyamavhuvhu scheduled for August 2022 (2nd edition). For more information on these and other wonderful events to look out for from Moonchild District connect with the district on social media: 

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Poster for upcoming Moonchild District event.

FACEBOOK – Ndi Rayanne or Moonchild District

Instagram     – ndi.rayanne or moonchild.district

Instagram     – ndi.rayanne or moonchild.district

Twitter        – @NdiRayanne

Connect with Hazel Q. Lifa: hazel@asanteafrika.net

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Features

November Editor’s Note

I was offended of course, but as a woman, that’s not the first nor would it be the last time the world came at me in this way.

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November Editor's Note Asante Afrika Magazine

Hazel Lifa

Hello Asante Fam

I know it’s been a minute, and to be honest, it was a trying time between several day jobs and burnout with no end in sight. But like all things, it had to come to an end… or is it the occurrences of this past weekend’s drama that have ignited my pen once more?! As I tried to enjoy my weekend with an old friend I was confronted, rudely if I might add, by a key pillar of patriarchy, misogyny and some good old-fashioned girl-on-girl hate.

So my old friend was in town for an event that her significant other (SO) would be performing at, and by association, I was also invited, and boy were we excited to hang out. After spending about 5hours give or take with the couple amongst other company, where my friend’s SO was hardly seen due to rehearsals, I was called a slut and uninvited with immediate effect from the event. Now I know you must be asking, “Damn Hazel, what did you do?”, to which I will truthfully answer, “I have no idea.”

Naturally, my friend and I were blind-sighted, there was some tension, and for the sake of my friend, I kindly excused myself and went about my night. I was offended of course, but as a woman, that’s not the first nor would it be the last time the world came at me in this way. Two things really bothered me about the altercation:

  1. The first was that an essential stranger whom I had spoken to for ten minutes in total felt he had the right to make such a judgment about me. Okay, let’s say it was true, who gave this man the right to police and punish me for my alleged sexual escapades? It’s the audacity in the misogyny that kills me, and will forever blow my mind. 
  2. The second thing came the next day when I was informed that this all started with another girl. The girl in question I had been nothing but nice to, and had interacted with well to my knowledge.  She had even asked for some help setting up her social media for her music, and I was down to introduce her to other artists that I knew. So what had compelled this woman to slut-shame me?

There is no grand lesson behind this editor’s note or whatever. My experience moved me to write, it saddens me as it speaks to the gap between men and women. Still, after so much effort put into gender studies, such mindsets still prevail. As for the young lady who slandered me, her actions speak more to her character rather than anything else.

It’s the month of November and we all know what that means… the festive season is around the corner and we made it through another 365 spin-cycle. Around this time we get that pressure of what have I done this year, and maybe even minimise our progress on account of comparison with the next person. Life goes on and if you haven’t achieved what you aimed for this year, know you are not alone, but you know what, we are still alive and can still keep at it.

Happy Universal Children’s Day on the 20th and Day of Remembrance for all Victims of Chemical Warfare on the 30th.

Stay Safe.

hazel@asanteafrika.net

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