WINTER WARMER OPEN MIC IN PICTURES

Eden Langerveldt

Peggie Umind? Shangwa

Kessia Masona

Andrew Manyika

Tariro Chaniwa, Anesu, Othnell Mangoma Moyo

IMPACT HUB HARARE HOSTS WINTER WARMER OPEN MIC

EVENT: WINTER WARMER OPEN MIC

VENUE: IMPACT HUB, 194 BAINES AVENUE

TIME:2-5PM

It is not a secret that performing spaces that are artist friendly are very few in Harare.  Most establishments prefer the polished product and young creatives often find themselves performing amongst their friends and at home.  Impact Hub Harare opens its doors this Saturday, 1 June, to budding artists.  A host of established and emerging artists are expected to converge at Impact Hub Harare, 2-5pm for the Winter Warmer Open Mic to celebrate the beauty that is Africa by bringing together talented local artists and performers to the stage. 

Impact Hub Harare is an impact based hub passionate about bringing social innovators, entrepreneurs and like-minded people together to create lasting and relevant impact by incubating and accelerating social impact projects.  “We believe in bringing together communities and what better way to do it than through music, comedy, poetry and dance,” said Tiffany who is the Community Lead at the hub.

Established poets, comedians, musicians to perform at the Winter Warmer Open Mic in what promises to be an entertainment filled afternoon include musicians Tariro neGitare, Vera Zw, Othnell Mangoma Moyo, Masa, Tina Watyoka, Ammi Jamanda; poets So Profound, Momo Size, Liz Simende, Chioneso Rutsito, Madzitatiguru, and Umind and comedians Patrick Zindoga and Andrew Manyika among a host of other exciting acts.

Momo Size

The afternoon will consist of two segments, one with budding creatives and the other with established artists.  This is meant to allow networking and sharing of ideas between the budding and established artists.  Also for the budding artists to learn how to handle the stage as well as the audience to enhance their artistry.

Tariro neGitare promises a fresh set with songs from her new album.  Whilst poets Madzitatiguru, Soprofund and Momo Size are promising a memorable experience, with deep soulful poetry worth the audience’s ears.

Madzitatiguru

Tariro neGitare

There will be a kiddies corner, those with children will be able to bring them as there will be a spacewhere they can watch movies, play computer games and just have fun while the adults enjoy the open mic. There will be a childminder available and only kids over 6 will be allowed in the kiddies corner.

 Come through for a fun-filled afternoon.  Cover charge is only RTGS 6.00 for adults and RTGS 3.00 for kids. Drinks and food will be available for sale courtesy of Meals on Wheels and Dial-A-Drink zw.  ALL WELCOME!!

 By Batsirai E Chigama

LISTENING LAUNCH OF ‘TENDAI’ by Tendai Mavengeni

Friday 29 March 2019, 6pm, Old Mutual Theatre, Alliance Francaise

‘Tendai’ - raised by a village

Tendai Mavengeni, the youngest Mbira recording artist in Zimbabwe, raised by a village of musicians, music mentors, teachers, and other artists, launches her second album on Friday 29 March with a new-style ‘Listening Session’ at 6pm, Old Mutual Theatre, Alliance Francaise.  Everyone is welcome!

With loving nurturing by dad Boniface Mavengeni and mum Chengetai Kambanje, Tendai started out at the age of 10, with a timid performance at the renowned Sistaz Open Mic at Harare’s Book Café, where she was welcomed into the ‘village’ of musicians, singers, songwriters and kindred spirits who helped ‘to grow her up’ in her career.  She launched her first album ‘Destiny’ at 13 years in 2014, and two singles ‘Munzira yakachena’ and ‘Motoroodza Here?’ in 2016.  ‘Munzira yakachena’ got into top 20 of ZBCs National FM charts, where it sat at first place for more than two months. 

This second album ‘Tendai’ is the new phase of her growth – powerfully supported and co-produced by some of Zimbabwe’s gifted and capable artists, including Victor Kunonga, Mono Mukundu and Adrian Muparutsa.  Tendai has also enjoyed huge logistical support from Victor Kunonga, and also moral support and guidance from women artists like Batsirai Chigama, who headed the Sistaz Open Mic programme until 2016; actress and theatre practitioner Zaza Muchemwa, Theresa Muchemwa and graphic designer Rudo Chakanyuka.

Guest of Honour at the launch will be Farai Mpfunya, Director of Zimbabwe Culture Fund, where Tendai recently became involved with the ZCF ‘Dreams Initiative’ programme.

Tendai says: ‘”I’m looking forward to sharing my new compositions with everyone, and the opportunity to thank all those who helped me in producing the album.  Please join me!”

The Listening Launch is on Friday 29 March, 6pm, Old Mutual Theatre, Alliance Francaise, 328 Herbert Chitepo Ave, and it’s an open invitation.

Contact:0718324404

Boniface Mavengeni

NOBUNTU TO LIGHT UP MAGITARE LIVE ACOUSTIC NIGHT LAUNCH

The Acoustic Night will this Friday 23 June 2017 be rebranded to Magitare Live Acoustic Night at the Harare City Library on Rotten Row from 7pm.

"The event has been hosted as the Acoustic Night for the last 7 years and it has brought rise to many artists, providing not only a performance platform, but also a professional development opportunity for the artists that we work with. We have decided to rebrand it to the Magitare Live Acoustic Night,” said the visionary Tariro neGitare who will share the new vision and direction at the event which is expected to be graced by an audience mix of business leaders, diplomats and artists.

The acoustic night is a live performance platform infusing different art forms such as music, poetry and comedy in a safe, family friendly environment. “We are hosting it at the Harare City Library as a move to address the plight of lack of infrastructure and spaces for creatives. We wish to partner with city spaces and transform them creatively so as to maximise existing spaces and use them to bring people together to network and enjoy and celebrate Zimbabwean talent in the process,” said Tariro.

 

On it's inaugural launch, Magitare Live Acoustic Night is excited to be hosting Nobuntu, an all-female acapella quintet from Bulawayo.

Nobuntu has drawn international acclaim for its inventive performances that range from traditional Zimbabwean songs to Afro Jazz to Gospel. The ensemble’s concerts are performed with pure voices, augmented by minimalistic percussion, traditional instruments such as the Mbira (thumb piano) and organic, authentic dance movements.

Nobuntu was nominated for Best Musician of the Year at the Zimbabwe International Women Awards in London in 2015 and in the last few seasons, the quintet has performed at festivals and concert halls in Zimbabwe, Italy, Austria, Germany, Belgium, the Czech Republic and Canada. The ensemble was a huge critical success at “Trans-Vocal” in Frankfurt and “Voice Mania” in Vienna. Their first tour to Canada, in 2016, included performances in Toronto, Winnipeg, Vancouver, and Victoria. 

The ensemble represents a new generation of young African women singers who celebrate and preserve their culture, beauty and heritage through art.  Nobuntu has released two recordings- THINA in 2013 and EKHAYA in 2016. The group has made numerous television and radio appearances throughout Africa and Europe promoting these recordings and the culture of their homeland.  Currently, the group comprises of Thandeka Moyo, Heather Dube, Joyline Sibanda, Zanele Manhenga and Duduzile Sibanda.

Other awesome artists on the line-up are poet U Mind, musicians Munyaradzi Nyamarebvu, Libert Mathole and Tariro neGitare.

 

Magitare Africa Trust, which runs the acoustic night, is also on a mission to create a breed of artists that understand the vision of their Creator (God) and use their gifts to improve not only themselves, but their communities as well. Tariro neGitare says they have set up the following structures that compliment the Magitare Live Acoustic Nights to ensure this:

 

1. The Creative Arts Hub – a creative program designed to encourage community engagement for schools and communities. Artists that take part in Magitare Live are trained to facilitate these sessions and become mentors for the younger artists.
2. Outreach- the artists are involved in various outreach activities periodically.
3. Artist Development Program – selected artists undergo a robust mentorship programme that has been crafted based on the Acoustic Night artist experience for the last 7 years as well as extensive research on best practices from creative entrepreneurs. The model will duplicate a particular kind of artist that is passionate, entrepreneurial and innovative.

For more details contact Tariro neGitare Phone: 0772 720290 or email tariro@tarironegitare.com

 

Firespitter Tinashe Tafirenyika Speaks on Poetry and NAMA Award

Today we talk to Tinashe Tafirenyika, fire spitter poet and winner of the 2017 NAMA Spoken Word Award.  Tinashe becomes the youngest and first female poet to clinch the award since its introduction in 2013.  Others who have won the award include:Tatenda Chinoda(2013), Obert Dube(2014), Likhwa Ncube(2015) and Philani Nyoni(2016).

 

B=Batsirai E Chigama

T=Tinashe Tafirenyika

 

B.Would you describe yourself in one word

T.Unusual

 

B.Tell us a bit about yourself

T

Not sure if it is vain to speak about oneself in third person but Tinashe was born in Bulawayo in 1992. She went off to the capital for college at the U.Z. in 2011 and in 2013 she stumbled upon the Book Cafe Harare in the most serendipitous way imaginable. Three days later she performed a poem in front of an audience for the first time at Sistaz Open Mic (that was the first time she met Batsirai Chigama and Peggie Shangwa, two amazing poets who went on to become her mentors and big sisters). She has been performing poetry ever since and sometimes she publishes poetry online.

 

B.How did you feel to be nominated for the Spoken Word Category at NAMA?

T

I was mostly in shock. And denial. Which lasted up till after I won the award. I suppose sometimes when something that wonderful happens the brain just takes longer to process it. But now I am at the stage of acceptance and it is a beautiful place to be.

 

B.What does this say for spoken word in general in Zimbabwe?

T

Spoken Word is here and it is not going anywhere. The new urban type of performance poetry is now recognized at the highest national level. Gone are the days when Imbongi (praise poets) were the only recognized performance poets. This did not start with this award, this is just one piece of a movement that has been going on for a while and I am glad to be part of it.

 

B.Are you happy with the current state of spoken word in Zimbabwe?

T

Spoken Word is growing. It is difficult at times to find a consistent space for it but whenever one shuts down another pops up and the artists are resilient, the poetry fans eager. I don't know if I am happy with the current state but I do believe that the future of spoken word is bright in this country.

B.What more do you think should be done for spoken word?

T

Consistent spaces are necessary for the nurturing and preservation of spoken word. Most poets were made at platforms such as Mlom' Wakho Poetry Slam, House of Hunger Poetry Slam, Sistaz Open Mic and P.O.T.. We need more of these platforms.

B.Who is your inspiration?

T

The people I love. They make writing worth it.

 

B.What is your writing process like from idea, to writing to performance delivery?

T

My writing process is very messy. It normally begins with an idea, which can come from literally anywhere. Sometimes it all floods in at once and I fill up a page in ten minutes. Other times it simmers for months. The concept forms, words come together bit by bit, I edit and re-edit, delete, join verses together, tear them apart, until it sounds right. Then I stand in front of the mirror and recite until it sticks. Even after rehearsing it sometimes takes a few shows before a piece feels "right" and I never really stop changing it.

B.When your name was announced, tell us how you felt when you won the award?

T

I was numb. You could have hit me over the head with a sledgehammer and I would not have felt it. It felt like a dream.

 

B.What would you like to tell aspiring young spoken word artists out there?

T

That they should write. And perfect their art. There is no glory in mediocrity and its poetry, you don't need fancy equipment or anything to pull it off so you have no excuse for being a terrible writer. Regardless of how positive your message is, if your poems suck no one will pay attention. And there are no shortcuts; the only way to become better is to expose yourself to good writing and practice. With the Internet you have no excuse, material from some of the best poets to ever live is literally a click away so maybe spend less time on Instagram and visit Badilisha or something.

 

B.Where to from here?

T

Up, up and away. Hopefully we can take spoken word to places that it has never been before.

 

By Batsirai E Chigama

KNOCK KNOCK...WHEN REALITY KNOCKS

Kutenda Creations, founded by Sylvia Sanyanga hosts ladies breakfast meetings every first Saturday of the month.   Kutenda is an event management company specialising in décor, catering for corporate functions, social functions including school hot lunches, weddings etc.

According to Sylvia, we live in a busy world and women especially sometimes forget to give themselves some time out to just forget about all else and concentrate on themselves.  Unlike the usual business breakfast meetings Kutenda Creations speak on everyday life issues that affect women but also encouraging entrepreneurship amongst the women.


Speaker of the day was Dudu Manhenga-Muparutsa, an acclaimed contributor to the rich music history of Zimbabwe. For more than twenty years she has filled the airwaves and performed in Zimbabwe and on grand stages all over the world. A mother, daughter, sister, she is a vibrant activist in defence of the poor and voiceless; and a strong supporter of women everywhere. She is a powerful worshiper and prayer warrior; a tiller of the earth who cultivates her gardens to share food with the poor. As a singer, lyricist and composer, Dudu’s words have reached the world through music. Now, beyond the stage, she turns to the pages of God's written word and her voice ministers to many.


The main performance was provided by Tariro neGitare.  Tariro, is a vocalist and guitarist. She started playing the guitar at the age of 13 and has since become a rising star in the Zimbabwe music scene, sharing the stage with legendary African artists such as Oliver Mtukudzi and Ladysmith Black Mambazo. She is an avid collaborator, working and touring frequently with musicians from South Africa, Germany, Nigeria, and the UK. Tariro also created a platform for other solo artists called Wildfire Acoustic Nights, a music and poetry event that has been running for years through a partnership between her company Wildfire Africa and the Zimbabwe German Society. Additionally, she runs Business of Art workshops that promote artists to monetize their passion by learning valuable business skills.


Kutenda Creations ladies breakfast meeting is a space for women artists to perform, network with women from other various industries and sale their products too.

Tariro neGitare: Photo by Batsirai E Chigama

Dudu Manhenga-Muparutsa: Photo by Batsirai E Chigama

Sylvia Sanyanga: Photo by Batsirai E Chigama

MUSIC FREEDOM DAY AT MOTO REPUBLIK

A discussion was held today at Moto Republik; "The Role of Women in Music" in celebration of World Music Freedom Day.  What does it mean to be a woman in music and how can women musicians go beyond providing music and be more involved in the communities they live?  More collaborations, more networking, more sweat and more music.

Photo by Batsirai E Chigama

Photo by Batsirai E Chigama

Photo by Batsirai E Chigama

Maria Vera Chisvo, Natalie Kombe: Phhoto by Batsirai E Chigama

Tariro NeGitare: Photo by Batsirai E Chigama

TRAVEL POINTERS FOR THE YOUNG ARTIST

Often when an opportunity to travel arises for a young artist there is excitement.  Excitement to be travelling and performing at a new or unfamiliar stage and audience; excitement that one's work is finally being recognised.  It may be local, regional or international.

Having travelled and met with a plethora of mishaps, it is important that young artists take notes from their colleagues in the industry.  Asking around doesn't usually yield truthful results, some people are not willing to share bad experiences.

Travel can be tough for artists who do not have managers or agents or tour managers. Negotiating issues such as accommodation, air and ground transportation, visas, performance fees, per diems can be very tricky issues to those starting out. There is an excitement that comes with touring or performing at big stages that artists may overlook some of these important admin aspects. Seeing social media posts about connecting flights and exotic places visited by other artists may give the illusion that all is rosy.

It is important to ask the following questions:

• Is the host whether festival, organisation be paying for board, travel and local transport when artist arrives in the host country or town?
• For transport does the artist have a standard like fly only or they can travel by road.  Will there be someone to pick the artist up from the airport?  It is important to have contacts of the person responsible for transport for whatever event the artist will be attending.  Ensure that if the host is responsible for your transport that you have return tickets way in advance before you travel.

• For accommodation, does the artist have a standard, three star or four star hotel?  Here the artist must insist on knowing where they are booked before they travel.  Is it full board, bed and breakfast or just bed.  When travelling with a team/band always make sure that you provide gender breakdown to event organisers so that accommodation bookings are done accordingly. 

• Performance Fees, does the artist have a standard or it is negotiable with the host?
• Itinerary.  Is the artist expected to do more than just perform or exhibit?  Talks, workshops, press interviews?  It is important to have this information before hand so you can fully prepare yourself.
• How long is the set for performance?
• Ask what kind of  a venue you will be performing in then send technical rider  to host in time so that the necessary provisions are made to make sure the host is prepared for all technical requirements of the artist's performance.

Courtesy of

http://www.radionashvilleband.com/Radio-Nashville-Stage-Plot.jpg

 

• Per diems, being daily allowances paid to the artists for food and local transport.
• Publicity.  Who is responsible for publicity?  As an artist always have a press kit ready with press photos, short bio and recorded works or a portfolio of your work.

It is important to ask questions and get answers and proof of e.g accommodation bookings or flight bookings in time before your travel.  Sort out issues of visas should you require one for the country to be visited.

It is also important to know the basic information of area to be visited.  What is the weather like, language, basic greetings perhaps.  Research on the event so you are aware of what you are getting yourself into.  Is it an event you would like to be associated with?

In the beginning it is always to hard for many to negotiate terms.  Always have everything reduced to a contract signed by both parties.  It is professional so do not be afraid to have a standard contract just in case your host does not have one.

While the questions above are not exhaustive, I hope they may be a guide and assist those young artists who find themselves travelling for the first time and have no idea what to expect. 

15-Year Old Mbira Sensation Launches Two Singles From Upcoming Album

Fifteen year old mbira sensation, Tendai Mavengeni has done it again.  She launches two singles from her upcoming second album “TENDAI” this Friday 18 November at Alliance Francaise.  The second album follows two years after the release of her debut album, “DESTINY” released in 2014.

PHOTO BY: STEVE CHIKOSI
SET DESIGN BY: THERESA MUCHEMWA & ZAZA MUCHEMWA

Tendai who writes all her lyrics on her own says she is keen to tackle issues to do with the girl child as daily, she encounters young girls who are constantly being abused. This is reflected in one of the songs to be released on Friday, “Motoroodza.”  The second song “Munzira Yakachena” is a plea for protection to the gods from the evil haunting the world.

Producer of the album, Adrian Mparutsa says "Being part of this creative process has been a good experience working with a very young artist who has so much depth.  Her writing is very profound and subjects you to a lot of introspection.  As the producer all I had to do was magnify her thoughts to bring out the musical product."

PHOTO BY: STEVE CHIKOSI
SET DESIGN BY: THERESA MUCHEMWA & ZAZA MUCHEMWA

Talking to her parents recently who have been very supportive in Tendai’s artistic journey, both Chengetai and Boniface Mavengeni are like any other parents with some tough love for their daughter.  They encourage Tendai to balance both her academic and artistic life, obviously with the academic taking precedence over all else.  “I would like to see her excel in both her art and academics to make her a full-rounded individual," says Tendai's mother.

Although they are protective like parents should be, Tendai enjoys the freedom to write, arrange her music the way she wants.  “We argue sometimes, about lyrics and the way the music is arranged but we want her eventually to be able to stand on her own, so she must learn the business side of her art without us interfering but giving advice.  In the end the final decision on what stays is hers,” says Tendai’s father.

PHOTO BY: STEVE CHIKOSI
SET DESIGN BY: THERESA MUCHEMWA & ZAZA MUCHEMWA

 Born in December 2000 in Harare, Tendai is a student currently doing her form three at Malbereign Girls High.  Tendai has a passion for music, particularly traditional music, the influences she acquired from the music she grew up listening to. She started playing Mbira (Nhare) at the very young age of 9, taught and mentored by respected mbira players Trymore Guchi Jombo and Brezhnev Guveya.  In the ensuing years she went on to she win a number of awards and medals at primary school level, performing at various platforms and events.

GRAPHIC DESIGNER: TATENDA MABIKA

“I am excited on this project, I know I have grown from the first project.  I hope people will love the effort we have put in the project,” says Tendai.

For more information contact:  

By Batsirai E Chigama

Artsy Event Organiser
+263775179168

 

Is The Big Five A Yardstick for Success and Excellence

For almost five years since the emergence on the BIG FIVE, a clique of the supposedly five best musicians in Zimbabwe, debates have been going on asking one main question. Why are there no women artists in the BIG FIVE?  After a recent debate sparked by Tinashe Mutero’s article, "Is there a place for women among Zimbabwe’s Big Five," this question may well be put to rest as the women artists seem to have decided their success cannot be determined by an establishment whose modus operandi is not clear and is determined by a few individuals. 

Whilst it is apparent that hard work and perfecting one's craft as well as a good marketing strategy is key for every musician’s success, it remains an enigma that in the past five years no women musicians have been accorded a place in the Big Five which paints the clique as a male dominated space.  Save for the recent mention of Ammara Brown, that is all the hint there seems to be of possible inclusion of women musicians.

Most of those who took part in the discussion indicated that most women artists have perfected their stagecraft and produce quality work, most sentiments expressed the need for the artists to work harder on connecting with the audiences, that is performing in the ghettos where most of the audience is but then not all audiences are in the ghetto.  That cannot be all, relevance also is required in order to pull numbers.  However, I paused a question asking if we are asking the right question here.  Whilst Tinashe Mutero asks “Is there a place for women among Zim’s Big Five,” I felt the question should rather be “Is the Big Five a yardstick by which to measure excellence and success of musicians?” 

It is all limiting to think that there has been no women artists worth of recognition in the music industry. Names that featured the most included Ammara Brown, Sandra Ndebele, Busisiwe Ncube, Tariro neGitare, Diana Samkange, the late Chiwoniso Maraire, Hope Masike, Fungisayi Zvakavapano Mashavave, Dudu Manhenga, Prudence Katomeni Mbofana and this is not to say there are no other women musicians who can make the cut. 

Edith WeUtonga had this to say, “Why wait for someone to decide whether we make the cut or not?  Some were given the opportunity, space to showcase their trade and some had no audience, no music, no talent but were given the space till the audience got used to the ‘music’ they produced.  And yet the space is not being given to women.  I believe we have very talented women in Zimbabwe and its about time we created our own spaces.” 

Women artist organising themselves

This was echoed by Hope Masike who said, “Expecting and believing we deserve recognition as women even as good artists nje won’t get anyone anywhere. We need to let our work speak louder.  Our videos, songs, stage work, brand images have to be ten times better, unapologetically excellent.”  She quotes SWAY, a production which featured Dudu Manhenga, Prudence Katomeni-Mbofana and Rute Mbangwa as a way of encouraging women artists to create opportunities for themselves and others.

SWAY-Women artists organising for each other

Plot Mhako and Junior Spice Manjengenja concurred that on the need for artists to work really hard.  Plot Mhako highlights a number of factors of which most stress the need for the artists to be accessible to their audiences so that they have large numbers of followers.  Whilst Plot Mhako touched on issues on NGO, Embassy and Corporate reliance Syndrome, it can be argued that we cannot be superficial when we are dealing with bread and butter issues.  We cannot begin to fault NGOs, Embassies and Corporates as sources of employment for artists be it male or female.  These are the very organisations that have sustained and worked with artists who produce rounded quality work that speak to the causes shared with both the artist and organisation hiring.  This is however not to say that artists should limit themselves to the paying audience only.  As Hope Masike candidly puts it "just remember , TMU (take money united), serve God, change lives ..., recognition will come as a bonus, or never come."

Marian Kunonga alias Marikun ChiheraFilms had some tough love to share.  Being a film maker Marian was unhappy of how women musicians are portrayed in music videos and how sometimes the lack of coherence between video and song does a disservice to the musician; how women artists are continually objectified. "Truly speaking trying to slot yourself in the Zim big 5 is lack of ambition grow bigger than our tiny country ad grow wings," she says.

Diana Samkange, Queen Mashie and Vimbai Zimuto called for the organisation of women musicians in a way that makes them forces to reckon within both as individuals and as a collective.

The debate was never about favours, it was about interrogating and trying to find out why women in music are not making it to the selected group of the Big Five.  This would therefore bring out a plethora of issues but it cannot be overstressed that this discussion was not to seek preferential treatment for women artists.

The struggles that women artists go through in the industry are so many.  There have been there and still continue to haunt them even though a few strides have been made in recent years.  Women artists understand better and it was refreshing to hear many of them contribute to the debate with confidence and stipulating what it is they want for themselves as players in the industry.

We hope to see more collaborations and platforms created by the women artists themselves to promote women artists in all sectors as well as groom young women artists who need guidance and support from those that have gone before them. 

If the art is good, it may take time for some to accept but good things always have a way  of attracting recognition.