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> GK - Thomas Mapfumo - Vusiyi Mini - Runell - Sista D. - Mathew Tembo <

photoreport on Independence Day concert in support of those living with HIV, Lusaka october 24 2002

'Tanzanian rap is so different from States-rap; they're talking about BMWs, bitches and ways to distribute money - we sing about politics, as it infiltrates in anything we do.' When talking about spending and blinking, Gwamaka points at his wrest, a place most American rappers would cover in gold. His is empty. GK uses the profits of his music to pay his studies.

GK at the Zanzibar International Filmfestival, june 2002

'I would be ashamed to call a girl a bitch', Gwamaka admits. He chooses to make 'polite rap', suitable to invite your parents to. The title of '97-album literally means 'What can I give you Mamma?'; GKs way to express his inability to repay the depth she left him, giving him life, upbringing and unconditional love.

However, when it comes the circumstances in which GK and his compatriots live their lives, Gwamakas tongue is sharp as a knife. In his lyrics he analysis features of daily life to their cores, allowing for explanations that not always suit the ruling parties. 'A good song is acombination of good beats and good lyrics', GK explains, 'if I'm not able to get my message across in a way people like, I'll have to find another way. I want to express what I have to say, not want they want me to say.'

darhotwira.com/

An interview with the artist at the 5th Zanzibar International Filmfestival in june 2002, can be requested via klaartjejaspers@gmail.com. The interview can be edited in Dutch or English.

Thomas Mapfumo

Thomas Tafirenyika Mukanya Mapfumo, a Zimbabwean musician composing songs that challenge the political situation in his country. Initially opposing the Ian Smith-regime in the seventies, nowadays questioning Robert Mugabe's ZANU-PF politics. In 1999, a few months before the elections, Mapfumo launched two new songs: 'Mamvemwe' ('Broken') & 'Disaster', in which he said the government is ruining the country. At the same time, Mapfumo regularly performed up at meetings of the oppositionparty Movement for Democratic Change. However, he will not be able to entertain the MDC-crowds heading for the upcoming presidential elections, since he and his family have left Zimbabwe to live in the United States.

Mapfumo writes and sings about love, life and politics. The title song of his 1994 album 'Vanhu Vatema' ('Black People') was translated by Musa Zimunya:

Vusiyi Mini

> Lee Hirsch

Runell

With his album 'Shibukombe Na Pulani', 'Middleman with a plan', Runell is indicating his aspiration to bring people together. 'Usually a middleman negotiates between the two families of a couple that's getting married', the artist explaines, 'I want to be the middleman for the nation and bridge the gaps between all kinds of people in society, rich and poor.' He attempts to do so by singing about issues that he thinks need to be discussed. In 'Osa Dabwa', one of the tracks on 'Shibukombe Na Pulani', Runell mentions the position of gays in Africa. ' Being gay is a sensitive issue in Africa. You cannot force people to accept gays as part of their culture', Runell thinks, 'but people should not just sit and see; they should try to understand before judging. I don't understand why people are gay myself, but I think it's something we should think about.' For now, Runell is singing in a variety of Zambian languages, but soon he intends to switch to English. 'For now, I need an identity. My next album will probably in English, so everybody can understand the lyrics. I want to bring an international audience together'. A middleman with a plan. A global plan. Runell performing at the Independence Day concert in support of those living with HIV/Aids

Sista D.

Sista D. showing how to dance to 'Vitendeni'

Famous for her original style, Sista D. - Daputsa Nkhata Zulu - has managed to set her name as an independent musician, composer and co-producer. With the help of producer and instrumentalist Chris Commando Mongri, she makes sure to remain in charge of her own music. On her album 'Makhaladi' (the name for black girls who bleach their skins) she combines her own compositions with some interpretations of traditional songs, on her upcoming album 'OK Manje' ('OK What's next?') Daputsa will stick to the 100%-selfmade compositions only.

In addition to her musical achievements, Sista D. has set an example that nor admirers, nor abominaters will easily forget. In her controversial hit 'Vitendeni' she suggests what should happen to men that rape children: they should have their dicks cut off. She was inspired to write the song after a news item on the radio, reporting about a 2-year old girl that had been raped by men believing this was the way to get cured from HIV. 'I imagined that would happen to my own daughter...' In the video and dance that came along, the gestures are clear.

'Some men were offended', Daputsa recognises, 'I have often had to explain that I did not refer to all the men, just to those that raped the children. Those are not real men.' However, amongst the Zambian youth the song was received with great enthusiasm. 'It's still happening a lot', Sista D. says, 'In the old days it used to remain within the household; nobody would know. But I think after the song things are starting to open up.'

The fate of sexually abused children is a continuing theme of Daputsa's work. 'It will hunt you for the rest of your life; it will prevent you from doing anything progressive with your live. Untill it ceases to exist, I will be writing about it.' When the artist visits shelters for these girls, she notices how important she has become to them. 'Sometimes they can't let me go: they feel I am protecting them. But the only way I can protect them, is by educating the masses.'

Sista D. performing at the Independence Day concert in support of those living with HIV/Aids

For a complete interview with the artist or a report on her visits to the shelters for girls, contact klaartjejaspers@gmail.com

Mathew Tembo

musician

At his latest cd ‘Unkhalo’ (‘Life’), Mathew tells the story of son who’s asking his father to send him to university. The father refuses, lies that the university is closed, because he can’t afford to pay the fees.

However, everybody who listens to the song knows the reality of Zambia these days: the father isn’t lying, university closes down all the time. seems most African leaders have not got a vision on how to improve the ‘I don’t know why, but it countrycorrupted by money. Look for instance at Muluzi (the president of Malawi) ’, Mathew says, ‘Maybe they have been and Chiluba (the former president of Zambia), refusing to step down when their time has come. Meanwhile the workers work day and night and hardly get paid.’

Tembo is a self-made man. Not only he writes and performs his own music (bilingual: English and Nyanja): he produces his own sound, his own videos and wants to start his own label ‘Madsound’ as soon as possible. ‘The existing Zambian labels don’t do enough, especially not when it comes to reggae or traditional music. Their aim is limited to serving the Lusaka-market only, even the biggest stars like JK are lucky if they sell 10.000 copies. When I’m out of the country, I hear music from Zimbabwe or South Africa – but Zambia: no.’

According to Tembo, the Zambian music industry is facing a serious depression. ‘Ten or fifteen years ago we were a lot better off. OK, some musicians have indeed created their own sound, but the lyrics are usually dull. However, I don’t blame the individuals; I think this is the result of a culture we have created.’

In Kumalya Ndimu Mathew describes how moral values have changed. ‘Kumalya Ndimu is the name of a game we used to play: you sit in a group, people pass jokes but you’re not supposed to laugh. Once you do you have to close your eyes and you’ll get hit on the head. If you guess who hit you, they are supposed to stop. But is they don’t like you, they’ll just tell you your guess was wrong and keep on hitting you until you cry. Our life has become like that: whether wrong or right: you’ll be hit… what was good a few years ago is now out of fashion: what was wrong is now right, and what was right is now wrong.’

The erosion of values is a repeating theme in Tembo’s work. In ‘The now Zambian girls’ (‘Save my soul’, 2000) he comments on how the now Zambian girls seem to have lost their pride and respect for their descent.

‘Whatever they are: they should be happy to be made as they are – that God made them in his image. These bleaching products do more harm than good.’ According to Tembo, their behavior is the result of a low self-esteem. Though it affects the women more then the men, it is the low self-esteem of Africans.

‘Colonialism contributed by suggesting African cultures were barbaric. As we learnt how to speak English, we assimilated to the culture that goes with the language. We came to think everything European was good and everything African is bad. This thinking was passed on from generation to generation. Nowadays there’s only a small group that still values the African traditions.’