THE attainment of independence on April 18 1980 resulted in the rapid growth of the music industry in Zimbabwe.
More stars came to the fore.
During the Rhodesian era, blacks did not thrive.
There was a lot of censorship and monitoring that interfered with the creative processes of black artistes.
Blacks in the music industry were using the platform to conscientise the masses of the need to fight and dislodge colonial rule.
And they were doing it through the use of riddles in their compositions.
Musicians such as Oliver Mtukudzi, Thomas Mapfumo, Dickson ‘Chinx’ Chingaira and Zex Manatsa were among the brave that sang against colonialism.
Their lyrics not only highlighted the injustices of the day, but inspired many to take up arms and spurred the nation to achieving independence.
On his website, Mtukudzi says threats and numerous forms of suppression by Rhodesians were not enough to stop them protesting.
“Before independence, my music was against the oppression, repressive regime and how we were suffering at the hands of regime,” he said.
With songs such as ‘Dzandimomotera’ and ‘Mutavara’, Mtukudzi instilled hope to fellow Zimbabweans who yearned for a free Zimbabwe.
Although some musicians such as Thomas Mapfumo were briefly jailed by the Rhodesians, they continued delivering lyrics that reflected the concerns of people, their aspirations and hope.
By arresting him, the Rhodesians tried to manipulate Mapfumo and make him denounce the war, but he went on to release songs such as ‘Zimbabwe Yevatema’, ‘Ndinofarira Zimbabwe’, ‘Tumira Vana Kuhondo’ and ‘Pemberai’.
It was through song that musicians during the colonial era participated in the liberation struggle.
In her book, Women Musicians in Zimbabwe, Joyce Jenje-Makwenda talks of how the political situation in the colonial era forced women musicians to leave the country.
“Political situation became unstable, a state of emergency was introduced and in 1963 musicians were not allowed to sing for more than one person,” she writes.
Makwenda says Township music was forced to go under and there was not much of local music going on.
Renowned musician, Dorothy Masuka is one of the few musicians who were forced into exile in Zambia because of her music.
However, the coming in of Zimbabwe’s independence in 1980 brought in many changes in the music industry.
Many black musicians came onto the scene.
Different genres were born, while a large number of artistes emerged from different towns around the country.
The genre of Sungura became popular, while gospel which was mainly dominated by Mechanic Manyeruke had new players in the mould of Charles Charamba, Ivy Kombo, Shingisai Suluma and Fungisai Zvakavapano-Mashavave and many others.
More women joined the industry.
Singing about death, love, prosperity or worshipping, women such as Stella Chiweshe, the late Chiwoniso Maraire, Kudzai Sevenzo, Dudu Manhenga and Busi Ncube achieved fame.
It is the policies made in a free Zimbabwe that saw the birth of the Urban Grooves genre.
Local musicians now tour the world showcasing their skills, skills that could have remained dormant if colonial rule had not been dislodged.