By Mafa Kwanisai Mafa

MUSIC has always been a vital part of African culture, serving as a powerful medium for teaching, communication, boosting morale and preserving values. In precolonial societies, music played a central role in rituals, storytelling and passing down knowledge from one generation to the next. However, its role evolved significantly during the liberation struggles, particularly in Zimbabwe’s First and Second Chimurenga, where it became a rallying cry for freedom and resistance against colonial oppression. Similarly, in the African Diaspora, music such as reggae and hip-hop fuelled movements against systemic racism and social injustice. Yet, in the post-independence era, music’s function has shifted, becoming a tool for promoting capitalist ideologies, undermining African values and destroying the social fabric. This essay will explore music’s historical and contemporary roles, using a funnel approach to analyse its impact from the US, the Caribbean, Africa, and finally Zimbabwe, while exposing the capitalist motives behind its current degeneration.

Music in pre-colonial Zimbabwe In pre-colonial Zimbabwe, music was deeply embedded in everyday life and played a significant role in our cultural and spiritual practices. Traditional instruments like the mbira, hosho and drums were used during rituals, celebrations and communal gatherings. Music served as an oral archive, preserving historical narratives, cultural norms and societal values. For instance, folktales and proverbs were often conveyed through song, teaching children about respect, community and resilience. Songs accompanied key life events, such as births, marriages and funerals, reinforcing communal solidarity and identity.

Additionally, music functioned as a means of communication with the spiritual world. Ancestor veneration ceremonies, known as mabira, were conducted with mbira music to invoke spirits for guidance and blessings. These practices not only preserved cultural identity but also fostered unity and a sense of belonging. The power of music to unite people and instill values laid the foundation for its use in subsequent liberation struggles. Music as a liberation tool: The First and Second Chimurenga During the First Chimurenga (1896-1897), music became a tool of resistance against colonial rule. Songs carried messages of defiance and solidarity, motivating communities to rise against the injustices of land dispossession and forced labour. Traditional war songs like ‘Shona Bhora’ were used to inspire warriors and communicate strategies in the face of colonial oppression. The Second Chimurenga (1966-1980) saw a more organised use of music as a liberation tool. Guerrilla fighters, operating under the banner of movements like ZANLA and ZIPRA, used music to boost morale and communicate their cause to the masses.

Artistes, such as Thomas Mapfumo and his band, the Blacks Unlimited, pioneered Chimurenga music, blending traditional sounds with revolutionary lyrics. Songs like ‘Tumira Vana Kuhondo’ called for unity, courage and sacrifice in the fight for independence. Mapfumo’s music became synonymous with the liberation struggle, inspiring fighters and civilians alike. This period highlighted music’s capacity to mobilise and galvanise people against a common enemy. It underscored the belief that music could be a weapon of liberation, uniting people across ethnic and regional lines in pursuit of freedom. Black nationalism and music in the US In the US, music played a pivotal role in the rise of black nationalism, particularly during the Civil Rights Movement and beyond. Genres like jazz, blues and gospel initially served as expressions of the African-American experience, blending sorrow and hope.

However, the emergence of rap and hip-hop in the 1980s and 1990s marked a new phase of resistance. Groups like Public Enemy used their platform to address systemic racism, police brutality and economic inequality. Songs such as ‘Fight the Power’ and ‘Don’t Believe the Hype’ called for black empowerment and challenged white supremacy. Tupac Shakur, another influential artiste, combined personal vulnerability with sharp critiques of institutional oppression. His songs, like ‘Changes’ and ‘Keep Ya Head Up’, resonated with disenfranchised youth, providing both solace and a call to action. Hip-hop’s revolutionary ideals inspired African and Caribbean movements, demonstrating the global reach of music as a tool for resistance and empowerment.

However, the commercialisation of hip-hop in later years marked the beginning of its co-optation by capitalist interests, steering its message away from activism towards consumerism and materialism. Conscious reggae in the Caribbean In the Caribbean, reggae music emerged as a powerful voice against colonialism, racism and social inequality. Artistes like Bob Marley, Peter Tosh and Burning Spear used their music to highlight the struggles of the oppressed and advocate justice and liberation. Marley’s ‘Redemption Song’ and ‘Get Up, Stand Up’ became anthems for resistance movements worldwide. Reggae’s roots in Rastafarianism further strengthened its revolutionary message, promoting African identity, pride and a return to cultural roots. The genre’s influence extended beyond the Caribbean, inspiring liberation movements across Africa, including Zimbabwe. Bob Marley’s performance at Zimbabwe’s independence celebrations in 1980 symbolised the strong connection between reggae and African freedom struggles. Despite its empowering origins, reggae, like hip-hop, has faced commercialisation and dilution of its message. The once-conscious lyrics have been replaced in many instances by content that aligns with capitalist entertainment trends.

Post-independence Africa and music’s decline

Following independence, Africa experienced a shift in the role of music. Once a vehicle for liberation and unity, it has now largely become a medium for promoting materialism, drugs, violence and the objectification of women. The rise of genres like Afrobeats and dancehall, while innovative, has brought with it lyrics and visuals that often glamourise hedonism and superficiality. In Zimbabwe, the influence of Western Role of NGOs and Western influence music has been particularly pronounced. Local artistes increasingly adopt themes and styles that reflect global trends, often at the expense of cultural and revolutionary ideals. Songs that once celebrated African identity now promote flashy lifestyles and instant gratification. This shift has had a detrimental effect on our youth, fostering unrealistic aspirations and eroding traditional values.

Impact on Zimbabwean youth

The proliferation of music that glorifies harmful behaviours has had severe consequences for Zimbabwean youth. According to a 2023 report by the Zimbabwe Youth Council, over 60 percent of young people aged 15-24 consume music with explicit content daily. This exposure has been linked to increased rates of drug abuse, teenage pregnancies and violent behaviour. Zimbabwean artistes like Jah Prayzah and Winky D, while immensely popular, have faced criticism for adopting themes that mirror Western trends. The rise of Zimdancehall has also contributed to the normalisation of misogyny and the objectification of women in music videos and lyrics.

Role of NGOs and Western influence

NGOs and Western entities have played a significant role in shaping music trends in Africa. Some NGOs fund artistes to create music that promotes anti-Government sentiments, often under the guise of promoting democracy and human rights. While such initiatives are framed as fostering freedom of expression, they often propagate Western values that clash with African traditions. This has created a cultural dissonance, further alienating youth from their heritage and undermining efforts to build cohesive societies.

The internet and challenges of regulation

The advent of the internet has made it increasingly difficult to regulate and censor harmful content. Social media platforms like YouTube, TikTok and Instagram have become primary channels for distributing music, often bypassing traditional gatekeepers such as cultural boards and regulatory bodies. This has led to the unchecked spread of content that promotes violence, drug use and other harmful behaviours. Government’s attempts to control the influence of such content have been met with limited success.

The widespread use of smartphones and the availability of cheap data packages ensure that even in rural areas, youth have access to global music trends. This unrestricted access has contributed to the erosion of cultural values and increased susceptibility to harmful influences. Music, once a powerful tool for teaching, communication and liberation, has been co-opted by capitalist interests to undermine African values and destroy the social fabric. From its historical role in pre-colonial Zimbabwe to its revolutionary use during liberation struggles, music has demonstrated its capacity to inspire and unite.

However, in the post-independence era, it has largely become a vehicle for promoting materialism, hedonism and Western ideologies. To reverse this trend, African governments, cultural institutions and communities must reclaim music as a tool for empowerment and cultural preservation. A new generation of conscious musicians is needed to restore pride, identity and revolutionary ideals among African youth. Without urgent action, the current trajectory of music risks turning Africa’s young generation into passive consumers, ready for recolonisation and exploitation.