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THE POVO JOURNAL 2013 www.povo.co.zw

FEATUING MASIMBA HWATI CALVIN CHITUWUNA DAVID CHINYAMA SO PROFOUND HIFA

PHOTOGRAPHY

ISSUE 03: PHOTOGRAPHY FEATURING: Tamuka Mtengwa // Annie Mpalume // Robert Machiri // Tafadzwa Tarumbwa // Anesu Freddy // Baynham Goredema // Masimba Sasa // Khumbulani Mpofu // Rayan Chokureva // Steven Chikosi // Rudo Nyangulu // Victor Bagu


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RYAN CHOKUREVA Learning To See Light

Rudo Nyangulu Towera

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Tamuka Mtengwa The photographic Rock Star

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THE POVO JOURNAL 2013

PHOTOGRAPHY // BTAMUKA MTENGWA

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STEVEN CHIKOSI The Photography Landscape in Zimbabwe

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Anesu Freddy I love / Hate Weddings

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CHIRATIDZO CHIWESHE - The Midnight Hour Annie Mpalume - The Assembly Point Raymond Muwaniri - Sabhuku TONY MONDA - Transforming The Colonial Legacy Through Art So Pro Found - System Of Musical Existence Edith We Utonga - How I Found Myself Through My Son Baynham Goredema - Mobile Phone Photography SIFF X ZILAWE - A Culture of Display Victor Bagu - Siyaya BRIAN GONDO - Hubs of Innovation in Zimbabwe? RUTH CHATUKUTA - The Aesthetically Pleasing City ELTON MJANANA - Other Art Forms Need Your Attention Too Honourable Professor SHARON SEVENZO - Child art Treasures MASIMBA SASA - Iphonegraphy Calvin Chimutuwah - Artist Must Be Multi Faceted Munetsi - mU The Incredible

PHOTOS & ILLUSTRATIONS // 05 Photo Khumbulani Mpofu // 09 Photo Shona Tiger // 21 Illustration Ashley Nhiwatiwa // 27 Illustration Charly Makwanya // 31 Photo Rudo Nyangulu // 35 Photo Tafadzwa Tarumbwa // 43 Photo Robert Machiri

CREDITIS - EXECUTIVE Fambayi Ngirande DESIGN AND LAYOUT Baynham Goredema EDITOR Archibald Mathibela TRANSCRIBING Bruce Goredema FONT - Foundry Sans/Sterling/Grid, News Gothic, Bauer Bodoni = OS - Apple = SOFTWARE - Adobe CS6 Suite = DISCLAIMER POVO JOURNAL IS A PUBLICATION PUBLISHED BY XEALOS DESIGN FOR POVO. Opinions expressed in this publication do not necessarily reflect the views of POVO or XEALOS. The information and views set out in this journal are those of the author(s) and do not necessarily reflect the official opinion of POVO or XEALOS. Neither POVO or XEALOS nor any person acting on their behalf may be held responsible for the use which may be made of the information contained therein. Reproduction is authorised provided the source is acknowledged. Rights to the photographs and article remain with the photographers and with the author respectively.


www.povo.co.zw COURTESY OF // MAGAMBA NETWORK

CHIWONISO 1976 -2013 REBEL WOMAN

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DESIGN

The Midnight Hour CHIRATIDZO CHIWESHE

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am writing this at twenty to one in the morning. For me, the midnight hour is always my moment of greatest clarity - doubt and fear flee from me and I suddenly remember who I am.

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Who I am… I find I have been trying to answer that question for close on ten years now. Ten years as an African female designer in the Zimbabwe of the past decade. Year after year that same question and others – am I making a difference? What am I doing here? Who is going to care in another ten years what I was selling? Will it be about the numbers - how much money we made? Or about the other numbers - how many lives were transformed or misled by our seductively designed campaign strategies? Who will care? Will I care? And everyday again, that question – ‘WHO ARE YOU Chiratidzo Chiweshe?’ Who ARE you my inner me demands - screams at me!

I must seek the path of the true artist, I will become a student and a craftsman, I will be a labourer and I will bring forth fruit. And for a long time I have failed to answer. For a long time I have just been another cog in the machine, another piece of furniture in studio - necessary but expendable. And for too long, as a person, as a woman, as a writer, as a designer and as an artist, I have felt that way about myself. Yes I am necessary - but I am also expendable. “Rage against the machine.” I laugh to myself, I cannot now remember which band it is that gave that title to their album; maybe it’s even the name of the band itself. Either way, it’s a smashing title! It so perfectly sums up what being an artist has come to mean to me: I want to rage against the machine. I want to be a raging storm that shocks and throws everything off kilter. I want to demand everything and give everything; I want to

change the world. I know I can do it, as every artist since the beginning of time has always believed. But now I also know I’m going to do it. Being an artist… That word ‘artist’, encompasses so much of what I truly am - it talks about the labour of bringing forth something that did not exist, of channeling the unknown and somehow translating it into something that everyone can not only understand - but have been desperately trying to understand. Or say. Or do. Or feel. Just like the right amount of seasoning on a steak - yes! That’s it! That’s the right flavour! And that’s my job. Not to churn out pretty little adverts for money or fill a gap in a creative studio. Not to be necessary - but to be vital. I must be the key that turns the lock; the door to the future and to

hope! I must be the channel. Not ‘a’, but ‘the’; Like the heart - that if it weren’t for me - everything would stop. But for that I must stop compromising. I must cease to compromise that which I am and believe. I must cease to fear myself and what I am capable of. It’s time to stop being a cog. So if I will not be a cog - what then shall I be? I will become more than what I am - like a legend, larger than life. You may call it arrogance and ego, but now I know for sure what it truly is - it is the true knowledge of oneself. I must seek the path of the true artist, I will become a student and a craftsman, I will be a labourer and I will bring forth fruit. Perhaps while I am at it, I will make a name for myself. But one thing I certainly must have is an answer to ‘who are you?’ in the midnight hour. And may my answer be better than “I’m just another cog in the great machine.”


On the occasion of his 85th birthday. A prominent human rights lawyer who campaigned against apartheid in South Africa, most notably during the Rivonia Trial where he was part of the team that defended Nelson Mandela, Govan Mbeki and Walter Sisulu http://en.wikipedia.org/wiki/George_Bizos

www.povo.co.zw PHOTOGRAPHY // Khumbulani Mpofu

Advocate George Bizos

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THE POVO JOURNAL 2013

INNOCENCE


I take great pleasure in photographing children, because when they pose for a photo, they are uninhibited and display an evident innocence about them which gives the photo a unique character.

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heir little smiles and ignorance of many foils in life always bring hope. This photograph is one of my 2013 favourites as I just stumbled upon it whilst working on some really boring news story on Eyrecourt, a settlement near Chitungwiza. When I saw the dust outlines, against rays from the setting sun and the naughty poses from the children, I paused in awe. In my heart, I thanked God for this wonderful scene.

It is not often that one experiences such magnificent, artistic patterns. While it’s a beautiful picture, the story behind what these children are subjected to is very sad. They are often exposed to harsh weather conditions and dust when they convene a meeting at the school assembly point which is out in the open. Perhaps from these humble beginnings, future leaders will emerge, because in the midst of the greatest adversities, true leaders rise above any situation before them.

www.povo.co.zw PHOTOGRAPHY // ANNIE MPALUME

The Assembly Point

ANNIE MPALUME

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TRADITION

Sabhuku Future of Traditional Leaders in Zimbabwe RAYMOND MUWANIRI

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imbabwe has state lands which the government is responsible for and communal lands in rural areas where traditional leaders are responsible. These traditional leaders include the Chief at the top of the hierarchy followed by the Headman then Sabhuku. Traditional leadership is appointed according to lineage and is usually for life. With more than 6 million people living in rural Zimbabwe, traditional leadership still plays an important role. Sabhuku is a chairman of the Village Development Committee (VIDCO). The committee has a vice chair, secretary, treasurer and 3 other members.

MaSabhuku from Monozi, Ward 6, Mbire celebrating using the new road they had built to divert from the river when flooded

Sabhuku has a seat in The Ward Development Committee (WADCO) with WADCO being the greater area. They also have village head badges.

The main responsibility of a Sabhuku include; maintenance of the traditions and culture of the Zimbabwean people, wellbeing of the villagers, peace

and stability, managing natural resources and promoting development in the rural community. Sabhuku is required to collect a development levy tax of $2/year/household from villagers. After collecting, 10% is for his/her efforts making Sabhuku unpopular. They also get $20 per month from government. In reality 90% is given to the Rural District Council (RDC) to safe keep and is then reinvested back into the community through development projects initiated by the community. Basically the $2 is an incentive for villagers to contribute to the development of their own area. Some villagers still refuse to pay causing tensions and a halt on development. Some say they


Revenue Hall Bulawayo, Zimbabwe.

cannot afford it, others say they don’t see the benefit. Maintaining our traditions and cultures is an important role but with the effects Colonialism and Christianity in Zimbabwe they are under threat. Sabhuku is usually at the centre of ceremonial rituals (e.g. kurova guwa) which may involve praying to the ancestor, brewing and drinking of beer. But with most villagers now being Christians they are refusing to participate in these ceremonies, putting the future role of Sabhuku in these ceremonies to question. In the olden days Sabhuku had the power to distribute land to those who needed it but now under the Traditional Leadership Act they can only make recommendations to the RDC through the councillor, even Chiefs cannot give land according to the Act. But this is in theory because on the ground traditional leaders are giving out land out of ignorance of clearly ignoring the Act. Most do not even have a copy of the Traditional Leadership Act and are still using the old traditional system where they are allowed

to give land. In some cases maSambuku are receiving cash or heads of cattle in exchange for land, sometimes they are giving land in areas which are not suitable for the people or the environment (River Banks, National Parks).

Act but power struggles are not avoided with Sabhuku saying to the Councillor “I am your traditional leader, so by tradition you must listen to me” and Councillor saying “I am your democratically elected leader who was chosen by the people”.

An example is Angwa which boarders a national park along the Zambezi where maSabhuku gave away land which was under the national park. Residents

As time passes I feel MaSabhuku and the other traditional leaders are slowly losing their influence in rural communities. In some areas MaSabhuku are too old

But after meeting a lot of maSabhuku and talking with them they are still an important element in rural villages. went on to build their homes only to be threatened with eviction today. Another example is Dema Growth Point in Chitungwiza where communal land meets urban land, urban residents paid MaSabhuku to give them land to build their city homes avoiding $6000 they would pay for a stand from the City Council. The Council has since announced these houses are not recognised and may be destroyed. If this happened it will leave people homeless after

investing into building these city homes. But at the end of the day they took advantage of being on the fringes of urban and rural land and used the old system of land distribution over the new system. Councillors are part of the new system and all development goes through the RDC via the Councillor further diminishing Sabhuku’s role. The role of Sabhuku and that of the Councillor are clearly stated in the Traditional Leadership

and still do things the old way, some of them cannot even read or write. This does not benefit the village as old ways can hold back development. If a village has a bad Sabhuku they are stuck with him for life. But after meeting a lot of maSabhuku and talking with them they are still an important element in rural villages. They bring the villages together and spearhead development. In most cases they are listened to by their villagers and they do keep order in rural areas. Zimbabweans cannot forget their traditional and cultural ways because they define us. I believe that any country with no traditions and cultures or has adopted from elsewhere has no identity. Traditional leaders need to be trained and educate on good leadership and included in the new system of working together with the RDC and the Councillors for the development of our rural areas, as well as preservation of our tradition and culture. Time and future Government plans will tell us the future of our traditional Leaders.

www.povo.co.zw PHOTOGRAPHY // SHONA TIGER

This is one of Bulawayo’s iconic buildings (of which there are more than a few), and it’s used for utility payments to the City Council. I love the way the light was on the day I took the photo, and the image was crisp and clear.

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ART

TRANSFORMING THE

COLONIAL LEGACY THROUGH ART

TONY MONDA

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he Following article is intended to raise awareness of the socio-cultural dynamics of African art on the international art circuits, in order for Zimbabwean visual art practitioners to understand and define their own space as arts writers, scholars, visual artists, curators and art critics, in relation to world art practice, discourse and world art Biennales. GLOBALISATION

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Globalisation has had a profound effect on various aspects of the world in the last 40 years, and the art world and indigenous cultural materials are not excluded from this process. The interest in diversity and multi-culturalism that initially sprang from sociopolitical disciplines has made forays into the art world. As a result, art is losing its cultural indigenous dialects, identities and accents, and is instead becoming a Western flavoured visual “esperanza”. For many indigenous peoples, the Western art world remains professionally divorced from the social and culturally specific milieu it should address.

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WHERE IS WORLD ART TODAY? The global dynamics of today’s art world have transformed art practice into a bourgeois, academic and exclusive

language for the so-called “informed and enlightened” clique of “socially connected” curators, scholars, artists, architects, dealers, cultural agents, collectors and corporate buyers; much to the exclusion of authentic African expression from the Motherland. The rise and proliferation in Europe and America of curators, collectors and architects who specialize in transforming galleries and art museums into powerful corporate brands which are intended to provide mass-entertainment, generate art and cultural tourism or solve socio-cultural problems are in the same process deindividualising the concept of art as a product of individual genius and master craftsmanship – in Shona “Hu Mhizha”. DEMATERIALISATION OF ART Today, there are more people, more venues, more exhibitions, more publications, more artists, more words and less time. The creation, marketing and distribution of visual art have become huge corporate machineries that destroy “individuality” and cultural identity in the process of socalled “cultural advancement”. The artist as “genius” model has expired. The use of “traditional” art genres and materials are slowly becoming obsolete, in favour of artificial gimmicks, DVD Installations and temporary spectacle.

The de-materialisation of the object of art and its expansion into idea, phenomenon and transience have made it possible for a text, performance, audiovisual projection of artificially made environment to be defined as “Visual Art”. Additionally, photography has attained equal status, as paint brush, hammer and chisel or metal forge, has been re-defined as “Art Photography”. Today’s art expression is all about context, social praxis and the right scheme or strategy within the operating system of art! Western visual artists in their “new roles” as cultural analysis and “service providers” have adapted to this “new world development” ahead of African artists. Consequently, the industrialisation of the art world is thus purely a social and financial phenomenon of which we, as Africans should be wary of – before our participation in “their” representation or exhibitions of us. In short, it would be more meaningful for African countries to host world biennales on the Continent, and Zimbabwe, due to its infrastructure, would be an appropriate venue for such an event. LOSS OF IDENTITY – THE DANGERS OF “LABELS” Given that art is expanding in an ever international direction, productively coopting peripheral territories into the centre, the persuasive,

multifarious strategies of Western capital and commerce, and the spectacle of art fairs and biennales are overshadowing African identities and ideas, under the guise of being “contemporary”, “postColonial”, “post-post-Modern”, or “post-post-African” The question here is; what do you become when you are Postpost-African”? A non-entity? A description? A definition? Perhaps! But not a tangible, living, indigenous African artist responding to your own milieu, but rather one at the service of Western superiority, neoColonialist and neo-Imperialist scholarship. It is important for Africa to realise that art historical scholarship is centred entirely on Europe and America’s misconception of Africa. Art history by virtue of its Eurocentric exclusionist nature, has omitted much of Africa’s contribution to global visual art discourse. CONONIAL HISTORY AND THE SCRABLE FOR AFRICAN ART Pre and post-Colonial Western perceptions of African art and culture were and still are, predominantly subject to the sovereignty of euro-American of Euro-American interpretation. We know that the entire size and multiple cultural facets of the African continent cannot be defined or categorised as one


They ultimately straddle two worlds. As a result “they show us the creative tension between local and global aspects of life”. Cultural globalisation does not, inevitably, lead to the loss of local cultural idiosyncrasies if we do not allow the West to subsume our culture – yet again! An explosive topic in today’s art world is the “definition of the different strands of African identities vis-a-vis globalisation. The art‘s contribution to the latter debate, allows us to overcome art’s historic clichés, constructs and colonial prejudice. DEFINING OURSELVES Art raises the perception of the reality of our cultural and economic networks and focuses on the African Memory. It informs the political, cultural and economic tensions that structure Europe’s relationships with their former colonies. One must know that the basis of colonial and imperial social-political order of the 19th Century was one of “rampant” immorality and violent plundering and looting of Africa-s resources. “The scramble for Africa” can be re-defined as “The Rape of Africa and Destruction of African-ness”. In order for us to liberate ourselves from Western programmatic lables of authenticity and originality, we, as Africans, particularly Zimbabwean artists, need to re-define ourselves and update our professional, cultural contribution to world art discourse.

A LOOK AT WORLD ART BIENNALES – “THE SCRAMBLE FOR AFRICA AND VISUAL CULTURE”

“The violent expropriation of the African Continent’s resources and culture in the 19th Century during the BerlinCongo conference of 18841885, organised by the then German Chancellor, Otto von Bismarck, to formalise and encourage European colonial claims on African territories, tore the umbilical thread of authentic African indigenous cultural expression.

System of musical existence

Today’ contemporary art from Africa is largely a product of this decadent and violent appropriation of African land, hearts and minds. So-called “post-colonial Art” which is a growing trend in our West African neighbours, is a visual expression that informs the political, cultural and economic tensions that structure Europe’s relationships with its former colonies.

But Lucifer is musical, and the devil is he He’s been making music good enough for Adam to swallow He’s already made his band so he is better than Diddy He’s got the anti Christ on leading vocals, religion on backing Focussing on rules, but leaving the kingdom stagnant Got racism playing keyboards Keeping black and white keys in conflict When on the real, its just one keyboard producing one sound

As we approach the next 54th Venice Biennale in the summer of 2011, let us proceed cautiously and not be swallowed by Western politics of power and cultural hegemony and prejudice. Zimbabwe as a nation requires its own pavilion, defined and determined by professional art advocates, who though few in Zimbabwe, do exist and can made a difference to the course of art history. It is time for us, as Africans, to reclaim our own memory and vision, by defining our own space in the world visual arts discourse. If the next major Art Biennales are to include Zimbabwe, or other African countries, they must be held on African soil, only the, can we call our art our own.

Its like the melody of truth is fading While the rhythmn of decadence is violently progressing Economic notes and political tones silently controlling states Pitching wars violent echoes from destructive walls The music from the worlds boom box Meaning this world is a system of musical existence

Conspiracy theories playing symbols Media snares and heads keeping the people occupied Terrorism is the kick that keeps the whole tempo constant Satanic thinking diseases sex and drugs Are the four basic strings to his bass guitar Got corruption strumming acoustics, governments falling He uses, poverty mismanagement and grievous percussions As for genres he plays everything From Afro ignorance, gay and lesbian rock Prostitution pop and pornography jazz His mission is to keep us dancing But God is music The whole idea of salvation is that Jesus can be the soundtrack of your life He doesn’t need a band he’s got a host of an angelic orchestra As for genres he plays the majors That is the way the truth and the life As for sub genres he plays everything From redeemer, healer, To anything you may so want genre He has made a 66 track double CD album for you As long as time remains you will always have good music to dance to So check what you nodding to For this world is a system of musical existence Check what you nodding to For this world is a system of musical existence VIEW ON YOUTUBE >> http://bit.ly/18Z3Os7

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art form. Artists from Africa are as diverse as their indigenous language, creeds and cultures. They gather their inspiration from local sources, from ideas, experiences and materials, stemming from their sociocultural milieu as well as from their international experiences and contacts.

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HOPE EDITH WEUTONGA

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bible and randomly opened John 11 and it said this sickness is not unto death, but for the glory of God, that the Son of God might be glorified thereby, thats all I needed to hear and I started praying again, more renewed this time and was loudly doing so and I did not care what anybody thought! They quietly looked, pointed and shook their heads, in understanding or otherwise, I do not know. As I prayed the security guard came and stood in front of me and said the doctor was waiting to see me and I braced myself.

THE POVO JOURNAL 2013

PHOTOGRAPHY // BAYNHAM GOREDEMA

m particularly compelled to write this morning because its a special day today, a day at some point a couple of weeks ago I thought I would not see with my son. He turns ONE today, my little braveheart turns one a bouncy,bubbly baby than he was three weeks ago.

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It was September twentyfourth, a day after surgery had been performed and my son was breathing well the nurses said,and by end of day he would be off the ventilator. The doctors were happy,and so was I to hear the news. Yet when I got there for my next visit in the early hours of morning, the security guard was quick to want to stop me,and when he realised he was not going to be successful,he rushed ahead of me to the ICU sisters and warned them I was coming. I, on the other hand noticed the guard being unusual and increased my pace after him, only to be stopped by two of the sisters right by the door to where my son was. They asked me to go to the waiting room on that floor and wait for the doctor who was going to come and talk to me and at that moment I knew something was wrong, so I refused to sit down until someone explained why. The young girls look at each other,and say something in their local language that I obviously could not understand and one of them heads back for the ward and comes back with another young nurse, who seemed to be the senior of them and she explains to me why I could not go in to see my son. ‘Sometime in the middle of the night he had difficulties breathing and we had to put

How I found myself through

my son him back on the machine, now we wait for doctor to come, please sit in the waiting room’. I sat there for about five minutes and I could not take it anymore. I asked and was told the doctor was yet to come. My heart was thumping from my head to my mouth, my eyes filled with tears, my throat dry. With no one to answer any of my questions I found myself walking the corridors that morning, talking to myself, asking questions and answering them, and definitely not liking most of the answers. Tears running down my cheeks, I started praying standing in one corner and when that space became too hot for me, I paced the corridors again, which at this time were filling up with

people coming to work and those coming for the seven o’clock visit. I must have been such a sight, well I was already, being an African with such a head full

‘Madalitso developed an infection in the lungs’, the doctor said,’ nothing to do with the repaired heart and that is why we have put him back on the machine. I assure you he will be fine. I have been with him for the last couple of hours and we are working flat out to make sure the infection is rid of as soon as possible’. Silence. ‘Can I see him now,please?’ ‘Yeah, sure, and I have arranged for the paediatrician...’ I was gone! I burst into the ICU and there he was, even if helped by the machines,breathing, thats all I needed,to see him,touch him. I knew God was on our side, tears

I burst into the ICU and there he was, even if helped by the machines, breathing, thats all I needed,to see him,touch him. I knew God was on our side, tears in my eyes starting to fall again, all was going to be well. of hair that I did not tie down like they do theirs. Only this time the tall African woman was not just spotting a big hairdo, she was in tears and talking to someone nobody could see! I told myself to calm down, seeing as no one came to ask me to do that, and opened my acro

in my eyes starting to fall again, all was going to be well. Today Madalitso Farai, my Braveheart turns One and I am thankful to Dr Mohammed Rehan Sayeed and the staff at Fortis Hospital, for being Gods tools. No ordinary person can do that job without His presence.


SPEAK Interviewing an artist

NIGHT A wet street

ARCHITECT Granite at Great Zimbabwe

QUEUE Getting ready to go home, Bree

TELECOMS Iconic Johannesburg tower

OVERCAST Clouds on the horizon

COLOUR - lover of veggies, red peppers

STREET Samora Machel, Harare

LOGO A classic Datsan Cedric

COVENANT Rainbow after the rain

selfie The ever popular self portrait

Follow @bayhaus on Instagram - This year I intentionally got a phone with a good camera and decent video to start an exciting journey in mobile phone photography. I wanted to explore a new world afforded by this form of photography. It has opened up a new world of exploration for me. The candid shot in public once difficult with the inconspicuous DSLR is now possible without raising eyebrows. The prevalance of camera phones and people taking shots of each other has meant that you are treated with less suspicion when taking shots in public. Mobile phone photography for me is more a stream of visual conciousness. Instagram is my choice for microblogging and publishing my photos to the world. Through it I have connected with more passionate Zimbabwean photographers who inspire me along the journey. There is definitely a place for mobile phone photography in creative expression and maybe one day in full commercial production.

www.povo.co.zw PHOTOGRAPHY // BAYNHAM GOREDEMA

WEST Sun setting in Roodepoort

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FEATURE TAMUKA MTENGWA

What made you choose to study Fine Arts? Ha ha , its actually quite a common question. You will be surprised to know that I intended to study law. Most Zimbabwean parents would not have endorsed the pursuit of such a qualification what was your parents reaction to studying fine art? Well its funny how you ask , I actually intended to study law but my dad insisted that I pursue fine art. He seemed to have strong beliefs in my artistic potential. What was it like to be the first black person to study Fine art majoring in photography at Rhodes University? I didn’t really look at myself as a black student of photography. Those days were crazy days were we did not really have many cares. All we worried about was making sure the next photograph would be a hit. We were very inspired as a year group and worked very hard and could be found in the studio in the wee hours of the morning either shooting at night , processing photographic negatives or printing in the dark room. We all thought we were going to become famous!  

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Have you met any famous people in your young but promising career?

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Yes I was honoured to be introduced to Salif Keita when I was in Bamako, Mali for The African Master class of 2005 at Moufou his studio. I was blown away. He was very humble and welcoming. I guess I really enjoyed that part of the world and its interring culture. You really feel you are in Africa and the nights magically

TAMUKA T H E P H OTO G R A P H I C R O C K S TA R

MTEN GWA lights up like a constellation of lightning bugs into an enchanting carnival of music dance, the wonder of the Sahel. I was lucky enough to be there twice that year. What other work have you done outside The Republic of South Africa? Well I have lectured in tertiary institutions in Zimbabwe, and exhibited at the National gallery of Zimbabwe, in Cameroon and Mali. I was honoured to have three images purchased by the gallery as part of their permanent collection.  What are your views on photography in the countries you have worked, outside The republic of South Africa? There is certainly a lot going on with regards photography in

West Africa. I would have loved to spend a year there doing some documentary and fine art photography there. There is so much material there and subject matter of photographic interest, truly speaking its about as African as you can get ,besides there is a lot of appreciation for photography there as the International  Biennial of African photography is held there, photographs being exhibited at every space possible. I also had the privilege of visiting the Seydou Keita foundation established in honour of the late great Malian photographer. Film or digital photography? What can you say about the two? That question can start a war lol. We studied photography when digital photography

was unheard of. There were only 9 of us in our year group, fiddling around in the dark loading film into developing tanks, and running around with thermometers and chemicals. Film was limited to 36 exposures on a 35 mm camera or  10 to 12 if you are using a 6X 7 camera or a Hasselblad. Those days one really thought about what they were doing and had to concentrate because after processing if you couldn’t use any of the film frames then it would have been a waste of time and money. Todays young photographers  don’t really have much motivation to think things through since they can always delete and reshoot , or dump their images on their computers and reuse the CF or SD card. Digital is however the way to go with regards commercial photography. What and who inspires you? I can’t really pin point one single source of inspiration, I would like to think of my self as a student of life anything that makes an impression on me is likely to influence my level of creativity. Have you ever gotten into trouble? Well I can tell you for sure that there was a time when cameras could get you into trouble especially around 2001 when media laws became more stringent. I had my film  confiscated but then again that is another story for another day. I did get it back when the misunderstanding was cleared. Because a great number photographers in Zimbabwe are hard news photographers or photo journalists it is generally assumed that if you are carrying a DSLR you are looking to catch someone out or stick your nose into someone elses’ business.


Are you married in this promising and vibrant career? You will be the first to know when that aspect of my life is finalised (chuckle) If you had kids would you want them to become artists as well? I would not encourage them to follow my path,however I would still want them to know photography. It was a risk we took and it didn’t pay off immediately like most of the other disciplines. Its only when we got our qualifications that we asked ourselves what we were going to do with them. I think my life after varsity has been more like an adventure and I’m grateful it worked out. I think the advice I would give them is go for your dreams but don’t be stupid about it. Its not always that one will eventually make it as the romantic narrative of the life of the artist seems to insist. What are you currently involved in? I am currently lecturing at a University in Pretoria, South Africa. What do you dislike about photography?

to ask for a years supply of check ups or prescriptions as a wedding gift. I would like to celebrate my friends and relatives weddings rather than to be working on that day, I generally don’t mind shooting one or two images though. Sometimes people won’t understand and perhaps this is where I would ask who would photograph my own wedding for free!

Its not always that one will eventually make it as the romantic narrative of the life of the artist seems to insist

www.povo.co.zw PHOTOGRAPHY // TAMUKA MTENGWA

I dread being asked by friends and family to photograph their weddings and for free. Photography is essentially a business like medicine and pharmacy. I would not be drawn

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FATHERHOOD

A culture of

display

SIFF X ZILAWE

I

became a father for the first time, two months back. What an incredible experience it was! The operating room was full of smiles, all eyes fixed on the beautiful new baby with awwws and aaahs punctuating the joyful words and blessings. The joy, the experience, gratitude and emotions overwhelmed me. Yet, I never shed a single tear.

Tears I can’t express in words how much I love my wife. Though I never cause it, she cries a lot! Like most girls, she can cry on cue! TV, human suffering, happiness and sadness make her weep. She wishes I cried also. “It is okay, mi Tesoro, a man can cry and it is okay”, she says relentlessly, with a soft voice and an over stressed accent whenever I feel sad or when overjoyed. “It is ok, cry, mi Tesoro, cry, it is ok.” Aiwa. It is not ok!

THE POVO JOURNAL 2013

I cried 21 years ago on my father’s passing. This kind of crying is acceptable. I also cried after suffering a first and last heartbreak of the romantic sort some years ago, but because that type of crying is unacceptable, I immediately resolved to put on the pants and be a man as my father taught me.

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Urban

African boys and the threat of feminised If Tyler Perry’s fathers, spineless husbands and blubbering weepy leaders b e f o r e

Manhood As I mused on my wife’s desire to see me turn on the waterworks, more questions surfaced, like why won’t I cry like modern men do?

auntie Oprah, ‘confessing dark secrets, to the public’ is the textbook example of the modern man, does that make me a pigheaded Cro-Magnon? My mulling over stupid questions was just time wasting. I know what manhood is and what it isn’t. Do young men in Zimbabwe today have a clue? What do they believe manhood is, how do they express it and who is their teacher?

So, I set out to discover… Observing Harare’s boys in their late teens to mid twenties, I wondered what sort of men these urban boys would become. Noticing their ineptitude at managing basic male to female interactions and seeing their failure to differentiate men’s from women’s clothes was truly depressing. In pure horror, I imagined spineless husbands and feminised fathers in the making! Discovering the root of this disconnect from nature and departure from basic common sense became my next mission.

American Culture and the Mainstream Arts Modern day arts and culture are influencing the urban youngster’s manhood. My friends and I were not spared the absorption of the powerful American urban culture in our youth but it was unlike the

horror show of today’s imported culture. We knew back then that skinny pants and blouses were for girls even though Milli Vanilli wore them; the boys who suspended common sense to try that look were instantly straightened out by their fathers, grandfathers and uncles; occasionally through a decent hiding. Most of my college mates wore baggy jeans and timberland boots from winter through to the hot summers because it was hip-hop. Five years before that, Mad Max’s petrol guzzling V8 Interceptor was every boy’s

images of metro sexual heroes who exfoliate and manscape! Even cowboys have stopped shooting each other when taking a break from murdering Indians; they are now preoccupied with romancing each other. A good gunfight is substituted by a pathetic love tiff! It would be hardly surprising, if in ten years time, our boys will have turned as out soft as wool. What good is a soft man in a blouse? They say clothing don’t make a man, and I agree; but when a man exhibits three or more feminine characteristics such as donning girlish clothes, frenzied crying,

The boys who suspended common sense to try that look were instantly straightened out by their fathers, grandfathers and uncles; occasionally through a decent hiding. dream car. Five years before that our screen heroes were tough guys with beards, flaunting physical strength, aggression, homophobia and resolve like our dads. Man things were man things. Today, college kids not only look up to cross dressing rappers with non threatening names like Kanye or Weezy, but they actually believe they are Kanye and Weezy; boys 5 years younger regard a Toyota Prius as a pretty cool car for its ability to exhale flowers and butterflies, while a lad 10 years younger is bombarded with

spending time grooming and hairdressing, it is probably best to engage the fathers, grandfathers, uncles and the rod. Oprah will only make it worse! The moment my son was born is by far the greatest I have ever experienced; crying would not have made it more special and my not crying does not debase it either. As a Christian man, a husband, a father and an artist, I am open to help lost boys find their manhood again, to love their culture and most importantly, to know the ways of the Lord.


Siyaya VICTOR BAGU

Siyaya is a Zulu word meaning “we are going” in the queen’s language, in Shona is “tirikutovhayasoo”. These are three photographs from a “taxi series” I snapped during the year 2007. All shots were taken on different days usually while people were travelling to work in different taxis (public commuter omnibus) using a Samsung cellular phone and captured the interesting activities, hair, clothes, headlines, jewellery, drivers and views.

www.povo.co.zw PHOTOGRAPHY // VICTOR BAGU

The one common thing amongst all the passengers is the knowledge that they are all “going”. There is also a level of anxiety as seen on some faces, peaceful silence except for the blaring taxi radio. The composition of the passengers is mostly random which makes the scenes so unpredictable and allows participants to act as they feel knowing well that none of the ~16 people in that moving public vehicle know them personally.

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TECH BRIAN GONDO

T

he last few months in Zimbabwe has seen the launch of two Tech Hubs, namely Hypercube and Muzinda Umuzi. To be pedantic Muzinda Umuzi is not a tech hub per se but maybe more of an entrepreneurship hub as it supports any business idea that shows potential rather than those purely in the tech space. Hubs are the latest tech fashion statement. Every African country has one. For example, Kenya has iHub (and others mind you), CCHub in Nigeria, Hivecolab in Uganda and BongoHive in Zambia. So other than the catchy sounding names should we be excited by what these hubs promise to offer?

Hubs of

Innovation in ZIMBABWE?

But a conduit of what? Ultimately it’s talent. In technology talent is the electricity that powers the whole system. Tech Hubs act as a space that allow talented people, usually young, or at least the young at heart, to come together and develop technology based products and services. So these

THE POVO JOURNAL 2013

You build a hub to foster innovation and entrepreneurship yet by nature innovation and entrepreneurship tend to be spontaneously occurring processes that respond to the immediate needs to the environment.

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There is something intriguing about the concept of a tech hub. If one drills down the analogy of a spoke and hub concept the conclusion is that the hub is the centre of a system, in this case the centre of the tech or innovation ecosystem. Just as hubs are important, for example in the air travel business, being the points that connect flights to disparate destinations one can safely say that Tech Hubs act as a central conduit of some kind.

people can be programmers, designers, scientists or anyone with a product or business idea that is the next big thing. The intrigue for me about the nature of Tech Hubs is their raison d’etre. There’s a built in irony about their very existence. You build a hub to foster innovation and entrepreneurship yet by nature innovation and entrepreneurship tend to be spontaneously occurring

processes that respond to the immediate needs to the environment. That is not to say entrepreneurship or innovation cannot be taught or encouraged. But just as you can teach someone to play football the innate talent is what determines whether one can reach the levels of Ronaldo or Messi. Joseph Schumpeter, the Austrian economist famously spoke about the driving force at the heart of the capitalist system as “creative destruction”. That is the ability of the capitalist system to promote new ideas, products and businesses, rewarding these via the profit incentive and in turn these successes supplant old models. An economic version of Darwin’s evolution theory. If Schumpeter could have envisaged an industry that fully epitomises this it would be technology where some products can have a life span of months and even days. The progress of technology is highly delineated and unstructured so how can a hub with its limited footprint even remotely hope to capture the best ideas or more importantly those that will succeed in the marketplace. Silicon Valley probably owes its existence to 2 remarkable men: Fred Turman and William Shockley. Turman an

engineer and dean at Stanford encouraged his students, two of whom were Bill Hewlett and David Packard, to commercialise their research. William Shockley on the other hand was a Nobel prize winning physicist and the founder of Fairchild Semi-Conductor. Shockley contribution to technology is not only as the inventor of the transistor the device that give Silicon Valley it’s name but his company Fairchild spawned over 20 high tech companies most notably Intel, whose founders Robert Noyce and Gordon Moore where Fairchild Alumni. Shockley was as brilliant as he was notoriously difficult to work with. A trait which led him to relocate to the Valley, then not the bustling metropolis of today but a place filled with fruit orchards. The valley was created by people who actually hated the bureaucracy in the big tech companies that at the time were clustered on the US east coast. Shockley was a refugee from AT&T’s Bell Labs in New York. Other engineers ran away from IBM’s claustrophobic environment on the east running away to California’s sunny and freer environment. In the wake of the technical talent that was coalescing on the West Coast financiers like


Georges Doriot came into this primordial soup and setup the foundation of venture capital industry whose central idea of rewarding entrepreneurs with stock options led to the mega windfalls that characterised valley exits in subsequent years. The valley brought some key ingredients together. An entrepreneurial work environment where the best ideas win, a good technical education system (Stanford, the University of California system etc.) and venture capital. African hubs as currently constituted provide none of these pillars. So maybe the term Hub is rather too ambitious. The flip side is that in an environment where finance and networking opportunities are scarce, hubs can indeed like the lens of a magnifying glass focus these resources. Bringing in people/parties that have these resources. Despite the existence of accelerators such as Y-Combinator and 1M/1M the valley’s biggest hits come from outside these structures. The question for the Zimbabwean hubs is whether they can even in a limited fashion emulate the success of the valley. The best place to search for clues to answer this question is to look at the tech hubs that have been setup in Africa.

The sheer number of hubs in Africa, there are over a 100 of them, suggests that something in this model must be working. Nigeria’s Co-Creation Hub has several projects ranging from e-commerce to mobile gaming with a focus on both forprofit and non-profit. And the opportunity is not just in apps and software. Kenya’s iHub has produced a hardware product in the form of the BRCK mobile internet device that guarantees Internet access when grid electricity goes down. Sold under the tag line the “Backup Generator of the Internet” the BRCK features wired or wireless Ethernet connections, a battery life of eight hours, and the ability to connect up to 20 devices. Probably the most successful hub or program it the one run by MEST in Ghana (Meltwater Entrepreneurial School of Technology) that has given rise to products such as Saya Mobile and Dropify that have gained some traction in the market place. Saya Mobile is a messaging app similar to MXit/ Whatsapp. A Techcrunch post indicates that Saya Mobile had 400,000 users. A figure that could have gone up since the articles publication in September 2012. A word of caution though. Africa is yet to produce a hugely successful app like Viber (a product developed in Belurus). So it’s early days yet. A cursory look around the world at all the various attempts to

create Silicon Valley clones does not fill one with confidence about the prospects of such an endeavour. Country’s such as Russia and Japan have given it a go with much deeper pockets and more resources and have failed. Even other regions in the US have had little success in duplicating the valley’s success. The reason for failure is never the lack to resources if anything it is the opposite. Too much money being thrown in. Necessity after all is the mother of invention. And in the words Silicon Valley VC Vinod Khosla, entrepreneurial creativity starts when you remove a zero. The implication is that the restraints found in the African environment are themselves sufficient to produce successful entrepreneurs and products without any external intervention of any kind. Another criticism of hubs is that for entities that are promoting entrepreneurship, they are not very entrepreneurial themselves. Hypercube is funded by donors (namely Hivos, Indigo Trust and the US Embassy) and Muzinda Umuzi by Econet, a telecommunications company. Are the hubs able to practice what they preach? AfriLabs, which is a network of African Hubs is actively looking at ways to make hubs sustainable. Which is rather weird. It seems sustainability was more of an afterthought than something

important in the beginning. But having said that, is there any harm in hubs becoming obsolete once their purpose has been fulfilled. Should they be immune to the flux of creative destruction? In my view, the most important ingredient in the development of a tech industry is not coding skills or capital, but it is enterprise. That flame within an individual that says the status quo is not good enough and I will over throw it. Skills can be learnt and the best entrepreneurs use the lack of money as strength rather than a curse. As Silicon Valley’s rebels have shown the desire for creative freedom is what led them to opt out of suffocating structured environments at Bell Labs or IBM and embark on the risky road of enterprise. That same desire for creative freedom continues today as startups come of former HP, Intel, Oracle, Google and Facebook employees, in themselves companies founded by techies travelling the road less travelled. As noble as the hub initiatives are, chances are the greatest tech developments are going to happen outside of them. The hub’s may provide a useful networking platform or serve as a lightning rod to galvanise industry stakeholders but in themselves they are unlikely to produce many successful companies or products.

Calvin Chimutuwah Black middle class and fine art in Zimbabwe http://bit.ly/1dDiHiO

Masimba Hwati Masimba Hwati - The Business of Art http://bit.ly/19J11if

David Chinyama

Taking fine art to the people of Zimbabwe http://bit.ly/1j5FQAz

So Profound The System of Musical Existence http://bit.ly/18Z3Os7

www.povo.co.zw

A documentary of live impromptu interviews with artists, live shows, discussions. Youtube channel POVOAfrika http://povo.co.zw/videos

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CONTRIBUTE

This year we reached our 50th unique contributor which was So Profound with a poem. We extremley grateful for theconfidence our contributors have shown in the POVO brand. What does it take to be a contributor? Just a passion in the arts and culture of Zimbabwe and belief that your opinion is valid and valuable. You Just need to pick the area you want to contribute which can be written articles in the form of short opinion peices, longer more indepth features, or interviews. You can also showcase your work in the form of posters and illustrations in poster format. We are also in the process of creating a visual archive of Zimbabwean magazine covers, and CD artwork so you can either send ones you have designed or scanned copies of ones you have bought. Are you a blogger? We also have a directory of blogs by Zimbabweans. Send in your blog so we can add it to the directory. We are inviting you to contribute to this movement of opinion and showcase with a focus on arts and culture in Zimbabwe.

THE POVO JOURNAL 2013

ILLUSTRATION // ASHLEY Nhiwatiwa

A full list of all our contributors POVO http://povo.co.zw/contributors

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POSTER COLLECTION T SHIRTS

Posters have alwasy been a creative medium to capture the attention and disseminate information. As Zimbabwean designers seek to communicate visually through this medium we will follow this visual journey and document it. We invite you to contribute to this archive by sending high resolution artwork of your posters or scan of the poster patriots@povo.co.za View Collections : http:// povo.co.zw/posters

OF OUR FAVOURITE WEBSITES

techzim.co.zw

TECHNOLOGY

Techzim is a news blog focusing on covering information technology news, views and reviews about products/services in Zimbabwe and the surrounding region. We have a leaning towards connectivity and ICT startups, which sees us write lots of stuff about the Internet, mobile and the startups using these platforms.

@Techzim

kalabashmedia.com

URBAN

Imagine a place where youth eat up and spit out the world around them, the country they see and feel. Welcome to the world of Kalabash, a megaphone for the next generation to blurt out everything that comes to mind, at times serious, at times not

@KalabashMedia

creativeloop.co.zw

CREATIVE

Creative Loop is the Creative Professional’s Resource magazine. We feature world class articles, inspiration, resources, tutorials and latest industry news. We provide high quality unique content targeted at Web designers and developers, Graphic designer, Bloggers, Photographers, Filmmakers and many more.

Paul Maposa Sepp Blatter

@creativeloopzim

kubatana.net

ACTIVISM

The Kubatana Trust of Zimbabwe, incorporating the NGO Network Alliance Project (NNAP), aims to strengthen the use of email and Internet strategies in Zimbabwean NGOs and civil society organisations. Kubatana makes human rights and civic education information accessible from a centralised, electronic source.

MAGAZINE COVER COLLECTION

@kubatana

zambezitraveller.com

Baynham Goredema TedxHarare 2011

TOURISM

A definitive guide tourism guide for destinations along the Zambezi River. Quarterly publication distributed at industry shows and events, to travel agents, tourist hotels, lodges and key public areas throughout the region, including capital cities.

@thetraveller

zimbojam.com

SHOWBIZ

Online showbiz and lifestyle magazine. Updated daily with stories, pictures, events and more!

@zimbojam

Jewel

As more locally produced magazines fill the stands we will be keeping track by archiving all the covers. We invite you to contribute to this archive by sending high resolution artwork of your magazine cover or scan it send it to patriots@povo.co.za and we will upload it onto the site and make it available in the gallery. View Collections : http://povo.co.zw/magazine-covers

xealos.com

Tafadzwa Tarumbwa Native Peeps

DESIGN

Consultancy involved in all aspects of visual communication ensuring that your image is consistent at a very high standard through out the various mediums and applications. Good design is an essential component of effective marketing, increased awareness and profitability.

@bayhaus

www.povo.co.zw

Inspiration Avenue

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THOUSANDS ANNUAL REPORT PHOTOGRAPHY

FEATUING MASIMBA HWATI CALVIN CHITUWUNA DAVID CHINYAMA SO PROFOUND HIFA

THE POVO JOURNAL 2013 www.povo.co.zw

Photographs captured at various events

ISSUE 03: PHOTOGRAPHY FEATURING: Tamuka Mtengwa // Annie Mpalume // Robert Machiri // Tafadzwa Tarumbwa // Anesu Freddy // Baynham Goredema // Masimba Sasa // Khumbulani Mpofu // Rayan Chokureva // Steven Chikosi // Rudo Nyangulu // Victor Bagu

2013 was a quiet year for POVO with no partnerships. Our expenses for the year were $3,230 which included, T shirt production, covering HIFA, Update of the website, Production of Hardcopy Journals. The election played a role to a certain extent and a nation stood still in anticipation. Elections have passed and life goes on. Initially for the journal we had targeted 40 pages but because of overwhelming response we bumped it up to 48 pages! Unfortunately printing hard copies is still a challenge hence we are publishing online. Special thanks need to go to Archibald Mathibela and Bruce Goredema who work tirelessly and selflessly as editor of our articles and transcriber of articles respectively.

Josh Meck

Busi Ncube

Alexio

Mampi & Roki

HIFA 2013

Ivan Mazuze

HIFA is always a highlight of the year both for getting contributors and marketing the brand via a stall. We were not able to get a stall this year and the event in general was a bit below par and we feel it genuinely needs some rejuvenation in a new direction as it seems to have become a bit monotonous. It will always be a thrill for the first timer but those returning, it may be losing some momentum. But what we did take notice of is a change in the demographics attending the festival, it is now starting to reflect the nation. A case in point is the Edith We Utonga Show featuring Busi Ncube of Ilanga (View Video - http://bit.ly/1ekBBPC and http://bit.ly/19P4P1s). Once seen as an elitist festival the people of Zimbabwe are slowly making the festival their own, a development that may not go down with some of the festival goers, but inevitable nonetheless. One of the highlights of the festival however was The Noisettes, UK band fronted by Zimbabwean Shingai Shoniwa, of who gave a stellar performance and covered a Thomas Mapfumo song backed by Hope Masike, Tariro We Gitare and Chiwoniso Maraire, which was the last of her performances we witnessed. Chiwoniso also performed live on stage with Chikwata263 (View Video - http://bit.ly/18NMRMD)

The Noisettes

Newsletter With the publication of this issue will also see the launch of the POVO Newsletter which will be used to keep subscribers informed of new developments and new content on the website.

THE POVO JOURNAL 2013

Paul Maposa

22

Rebecca Davis

Robert Machiri & Heby Dangerous

Mampi

Zimbabwean


WEBSITE The website under went a major rejuvenation with the look and feel and many additions to the functionality and content. It was relaunched again on the 23rd of April and since then we have received twice the amount of traffic than we did in the whole of last year! We reached our 50th Contributor this year, So Profound with his poem (http://bit.ly/1fj24JO). The latest version included an addition of categories. We are also excited by the addition of the new sections which include an archiving of magazine covers and CD artwork. Also added were portals which are mini websites which promote a certain event all in one place. A full page of quotes from articles in the website which are randomly displayed on the home page. Lastly is the blog directory of Zimbabwean bloggers.

Prudence Katomeni Mbofana

Prayersoul

T-Shirts As usual each year we release a new design for the POVO range of patriotic T-shirts. This year we did two separate designs with a new summer cut as well. We only produced 200 T-shirts this year.

Hope Masike Robert Machiri

Natalia Molebatsi

Sulumani Chimbetu

Indonesian Poet

Busi Ncube & Edith WeUtonga

Eve Kawadza

Our social scene was more active this year with Youtube and Twitter being the most active fronts. We reached 50 uploaded videos of original content from Zimbabwe with the Daniel ‘ProBeats’ Mashonganyika beat boxing in Zimbabwe (http://bit.ly/1gDdHiH). We also reached 1000 followers on Twitter with @BVZimbabwe following us. Tendayi Magombo was our 100th like on our facebook page. All milestones were rewarded with a POVO Tshirt. 2012 (http://bit. ly/1eziD47) PDF version hosted on Issuu.com had 10 times more impressions than the 2011 (http://bit.ly/vvduKk) version.

Facebook - 192 Likes Youtube - 22 928

views, 91 Videos, 39 Subscribers

Twitter - 1 243 Tweets, 1 333 Followers, 1 060 Following Issuu - 4622 Impressions

Fashion Show

Roki

ANNIVERSARY Gospel Choir

Pauline of M’afrique

An exciting year for us its 10 years since the inception of the POVO brand! We will do a special edition of the Journal which we hope to print. We are working flat out to make this happen. We have a few other items lined up and we will keep you posted with the final details. Be ready to contribute and let us tell the Zimbabwe story together. If you have any ideas they are very welcome on how we can celebrate this brand and movement..

www.povo.co.zw PHOTOGRAPHY // BAYNHAM GOREDEMA except Paul Maposas’ wedding photo

SOCIAL

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24

TAMUKA

SIPHELANI

VICTOR

BAGU ZILAWE

FREDDY BAYNHAM

TIGER SASA

GOREDEMA

MURRAY

CHARLY

TONY MONDA

Steven

RUDO NYANGULU MASIMBA

SO PROFOUND MTENGWA

ANESU

ROBERT

Sharon SEVENZO CHIKOSI

WALTER

Chiratidzo

MAchiri

SHONA

THE POVO JOURNAL 2013

CHIWESHE

MAKWANYA


RYAN

EDITH

Mpofu

ANNIE

MPALUME

MJANANA

RUTH

INCREDIBLE MU

We UTONGA

Kumbulani

Chimutuwah

CHOKUREVA

ELTON

TAFADZWA

BrIAN

GONDO

Calvin

ASHLEY

Nhiwatiwa

TARUMBWA

MUNETSI

RAYMOND

MUWANIRI

Chatukuta

Since its inception POVO has depended on the goodwill of the contributors who have selflessly given of their time and intellect to give us a glimpse of the opinions within the arts and cultural sector of Zimbabwe. Without them POVO would not be where it is today. POVO strives to ensure there is no disparity in the balance between gender. We are calling more women to join the movement and contribute their thoughts and opinions. This year we celebrated our 50th unique contributor So Profound,a poet and engineering student. We cannot forget our transcribers, editors and proof readers who so a sterling job and are very dependable. Distributors our merchandise and all who engage with us on Twitter, Facebook and on the website as well. Want to be a contributor but don’t know what to contribute? Go to page 20 and find out more. Salute! A full list of all our contributors POVO http://povo.co.zw/contributors

www.povo.co.zw

OUR VALUED CONTRIBUTORS

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ASSCOIATIONS

the country. What remains is a heavily male-dominated industry, characterised by a lack of unity and crippled by disorganisation and political interference. Recognising this situation, our mission is:

To create a platform for female photographers in Zimbabwe to work together and support each other as a means of furthering their professional careers. The Zimbabwe Association of Female Photographers (ZAFP) was formed in 2011 by 4 young photographers from Harare: Angela Jimu, Davina Jogi, Cynthia Matonhodze and Nancy Mteki, who identified a need to develop a network of

professional photographers. In recent years, the media industry in Zimbabwe has suffered severely from a lack of press freedom, leaving very few qualified and experienced photojournalists working in

To create a platform for female photographers in Zimbabwe to work together and support each other as a means of furthering their professional careers. Ultimately our vision is to contribute to the professional development of Zimbabwe’s photographic industry by producing a legacy of highly qualified, competitive

female photographers who are recognized for their work both locally and internationally. ZAFP is not a photo agency‌yet. But we are happy to share our network of photographers. If you would like to hire one of our members or get some photography advice, please contact us. www.zafp.org Twitter: @ZimAFP 15 Princess Drive, Newlands, Harare +263 (0) 774 444 044 info@zafp.com

CD ARTWORK COLLECTION We aim to have the largest collection of Zimbabwean CD artwork covers. Each entry will also include the designer, year album was produced and tracklist. We invite you to contribute to this archive by sending high resolution artwork of your CD Artwork or scan of the sleeve, include the tracklist and any other details to patriots@povo.co.za View Collections : http://povo.co.zw/cd-artwork

THE POVO JOURNAL 2013

To be dedicated to the promotion and development of photography locally and internationally

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Gwanza is a non-profit making organisation which caters for the development and promotion of photography and photographers in Zimbabwe. The main and major event for Gwanza is the Zimbabwe month of photography which is mounted very year in July, occupying the whole exhibition space in the National Gallery of Zimbabwe. Gwanza contacts photography workshops for both adults and children. Their mission is to be committed to the development of contemporary photography by taking advantage of the transition of societies, diverse development of cultures and abundant creativity and to establish academic platforms for the discussion and criticism of photography. Their vision is to be dedicated to the promotion and development of photography locally and internationally.

THOMAS MAPFUMO

EDITH WE UTONGA

SYNIK

African Classics

UTONGA

Syn City

ZIMBABWE LEGIT

Tariro Ruzvidzo

ROKI

Brothers from the Mother

Tariro ne Gitare

Karma

THE FOUR BROTHERS

MOKOOMBA

OUTSPOKEN

Makorokoto

Rising Tide

God Before Anything

http://gwanzaarts.wordpress.com Twitter: @gwanzaarts


I SEE THE

RISE OF

www.povo.co.zw ILLUSTRATION // CHARLY MAKWANYA

ZIM

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CREATIVITY

LEARNING TO SEE LIGHT RYAN CHOKUREVA

B

eing a creative, photography was always going to be one of those fringe things I had to do. I had to understand it enough, to be a creative director of any merit. Photography sells products, attracts attention and ultimately shapes perceptions. In our growing digital world it has fast become a medium from which we consume a good percentage of our information.

THE POVO JOURNAL 2013

PHOTOGRAPHY // Ryan Chokureva

I have always been an avid observer, drawing inspiration from everyday life and the details that pass us by in our hustle and bustle. I didn’t want to just see people, I wanted to observe them more. I wanted to absorb my world better, close my eyes at the end of the day and go through a gallery of images, information and moments that would grow me and move me forward.

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The next obvious step was to try and record some of these moments and captured information into some kind of visual sketchbook that I could reference. This perhaps then shaped the rest of the year for me, because being competitive by nature I not only wanted to gather visual references but also wanted them to be good, at least as good as the seasoned professionals I worked with. So a journey that had purely been about learning to be more observant became also a skills challenge.

As always with all my work there is a struggle about meaning. What am I recording, how does it fit into a bigger picture of my being, what footprint am I leaving and what image am I projecting? Photography then becomes more of an art form, that should never be done without the awareness of artistic vision and interpretation. We do not just capture images, we tell stories, sell and share them. The more I cared about what I was trying to say, the more I realised that quality and skill come naturally. As you fight to find ways to show what you want to say, you inadvertently push your skill set to the next level. You are looking to control the outcome even before you attach a lens to camera. After a couple of campaign shoots, I realised that there is a commercial side that’s grown into my learning curve. The beautiful part of it is that the more I focus on seeing the light, especially the light of my place of birth – Africa, the more my skill is improving and opening new possibilities. As with all learning , a bit of you is revealed. That’s the challenge, commercial photography will pose for me. The why? I always want to answer that question creatively, with my moral and humane feet on solid ground.


The one thing you notice when you do fashion and commercial photography is how much black models suffer. The lighting has to be turned up just a little more, adjusted exposures and tons and tons of make up that often is applied to correct and limit perceived darkness.There’s a misconception that black is not beautiful enough in its natural form. This inspired me to do a project, that explored darkening my models and limiting the lighting to reveal the beauty of natural form.

www.povo.co.zw PHOTOGRAPHY // Ryan Chokureva

What if Black was black?

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CULTURE

The aesthetically pleasing city E

THE POVO JOURNAL 2013

PHOTOGRAPHY // BAYNHAM GOREDEMA

RUTH CHATUKUTA

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very time I check the cleanest cities list on Forbes, I find that that they are usually aesthetically pleasing i.e. beautifully designed and stunning. So, I searched the list in the dire hope that my city just could be there. One word: Disappointment. Then, I googled ‘Dirtiest Cities in the World’. How relieved was I to discover that Harare was not there as well. Phew! Huge sigh of relief. But, that euphoria was shortlived. Should I be relieved, I thought. Because, really, if your sense of sight and your sense of common (common sense) are still intact, a drive through Harare’s Central Business District will tell you that although we are not one of the dirtiest cities in the world, we are definitely not one of the cleanest. And if we are not clean, how can we be aesthetically pleasing. Faced with this conundrum, I began to thunk (intense thinking). After burning the midnight oil (there was no ZESA), pondering deeply about this dilemma it came to me like a flash of lightning on a stormy day. Plastic. Evil, wicked plastic. The sunshine city stood like a lady, beautiful, dignified and clean, until plastic came along. Plastic with its uncanny ability to corrupt has turned the stunning dame into a witch-like monstrosity with strings of plastic that performs

an inappropriate dance off her body in the cool breeze. The thing about plastic is that it is affordable and durable, and as such it tends to be used a lot by Humans. However, most times we really do not think of the aesthetic and environmental effect that plastic has on the landscape. Plastic can release harmful chemicals into the soil, which seeps into the groundwater and contaminates water sources. And in terms of aesthetics, plastic always spoils the beauty and prettiness of the environment.

As I thunk some more, I had an epiphany. How did the plastic find its way into the streets, pavements and stretches of land in the city. Did it miraculously grow arms and legs and a brain to realize that its main purpose in life is to spoil the beauty of the environment? I think not.

My epiphany revealed to me that we, The Humans, are the reason why our city is not aesthetically pleasing. We throw litter everywhere, even next to the bin. We just toss plastic all over the city like you know, it’s nothing. And another interesting thing is that we don’t throw plastic all over our houses. I mean, who does that; it’s so unclean right. But straight after we try to be super clean human detergents in our houses, we go and do the exact opposite on the street. We just throw litter everywhere like it is going to dump itself in the bin, and then we have the nerve to complain that the city does not look beautiful anymore? (takes a deep breath to stay calm). So what is the way forward? How does Harare become the aesthetically pleasing city?

But straight after we try to be super clean human detergents in our houses, we go and do the exact opposite on the street.

First there needs to be a shift in the way people think. People need to learn to be responsible citizens, not spectators who expect the next man to do the job for them. An AIDS campaign aptly captured the idea when it said: it begins with you. There needs to be education on why littering plastic is a bad thing. Singapore made sure of that, so littering is literally a bad thing i.e. against the law. The city fathers need to enforce bylaws concerning the disposal of plastic with regards to product manufacturers and service providers. And recycling? What about that? Sweden is currently importing trash from other European countries which is recycled to generate energy. Yeah, they are currently facing trash shortages (First World problems). Japan has a long list of laws concerning recycling and unsurprisingly they have some of the cleanest and most aesthetically pleasing cities. That is the way to get the aesthetically pleasing city. That city that takes your breath away. The city that people are always proud to keep clean and habitable. It’s not about how much landscape design is done, because plastic defaces that. It’s not about the city art or the sculptures. It is not about the brilliant architecture. It’s about cleanliness and us the citizens taking responsibility for our city. It is up to us Hararians to make our city aesthetically pleasing. So for the love of all things good in this world, you, yes you, please stop littering my city!


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www.povo.co.zw

PHOTOGRAPHY // RUDO SHONATIGER NYANGULU


INDUSTRY THE POVO JOURNAL 2013 32

The Photography Landscape in Zimbabwe


STEVEN CHIKOSI

Photography in Zimbabwe is a passionate topic for me. We have a lot of photographers, the most common photography in our country is wedding and event photography closely followed by photojournalism. Specialists in other disciplines such as dedicated Fine Art Photographers, Landscape Photographers, Action/ Sports Photographers, Pet Photographers, Real Estate & Architecture Photographers, Concert Photographers, Baby Photographers, Advertising Photographers etc are few and far between in the industry. One wonders, could this be the reason we have only a handful of really good photographers whose work can be truly dubbed ‘inspiring’. Some argue that the industry is not big enough to specialize, but I still feel that clients risk being taken for a ride for over relying on one “expert” for all their photographic needs.

The public generally has no respect for photographers. There is a constant negotiating downwards with regards to quotations from large corporates to individuals. The root cause of this problem is there are very few photographers who take their work seriously. Seriously means making business sense out of it. The masses know they can always get someone cheaper whether the work will be just as amazing that’s a completely different story. Therefore there is need for more dialogue among photographers. If we educate one another, we self regulate the industry, we choose what is acceptable and what isn’t. So solutions, solutions right? We need more training workshops. There are a few

workshops mainly beginner workshops targeting newcomers to photography in Zimbabwe. Yes, lets have as many photographers from SA coming through, but mostly to give workshops, specialized workshops on different photography fields. There are not enough exhibitions, and not too many photographers’ networks. The few events that exist are bundled up with Film and little focus is on photography. Let us have more photography clubs in schools, towns and neighborhoods. Lets have degrees in Photography at our universities. Lets get photographers talking! The professionals/veteran/ established photographers are more concerned about their jobs and projects, and whine every time they see a billboard or newspaper advert with a very amateurish photo on it. They need to pioneer this dialogue. As long as there is no dialogue, SA will continue to take all our jobs in the advertising, wedding and other photography industries. That said I salute all the groups and communities who are already doing this. I salute Gwanza for their efforts in promoting photography; I salute Davina Jogi and the ZAFP (Zimbabwe Association of Female Photographers) efforts to ‘Encourage Professionalism Locally’ Now we need one for everyone, for both boys and girls! Long live photography in Zimbabwe!

www.povo.co.zw PHOTOGRAPHY // STEVEN CHIKOSI

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here is a popular belief that for one to comment on an issue, they have to be a recognized player in the game, a veteran or have few awards to show for it. On the contrary, outsiders trying to find their way in, sometimes give a more balanced commentary since they have the best vantage point. So this is my disclaimer, I am no veteran, award-winning photographer, but I am a passionate Zimbabwean with a camera. I am a freelancer still trying to find where my strengths lie. This commentary sums up my personal views from my vantage point.

In the wedding photography field, there is a recent trend of photographers flying in from neighboring South Africa. While individuals are entitled to their own choice of service provider, the fact that a photographer should be paid to travel to Zimbabwe from SA alone should spell the existence of a few things that the locals are not getting right. Methinks Shouldn’t we be flying to SA to shoot weddings of fellow Zimbabweans in the diaspora, because we understand how a Zimbabwean wedding goes? Could it be that our levels of skill and quality are not as good. Could this have something to do with our near non-existence online presence? Could it be that noone trusts any creative product from Zim?

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MEDIA ELTON MJANANA

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he new cabinet posting in the Ministery of Information, Media and Broadcasting Services was received with a lot of aplomb and applause. This was largely because ‘artists’ have vivid memories of benefits derived from this ministry.

THE POVO JOURNAL 2013

The minister then, enforced the seventy-five percent local content policy which saw a welcome boost and turn up in fortunes for local artists. This in turn upped the tempo on galas. In the process, artists jostled to be exposed to an audience of over a million people on TV and radio as these galas were beamed live on ZBC’s radio and TV signals. ZBC employees found an exciting place to be, filming these galas and beaming them live to the nation (and also the region with the advent of ZBC going onto DSTV) not to mention the priceless amount of content they provided – content to which ZBC still finds use beaming to the nation every day after midnight on ZTV1.

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There is jubilation once again in the arts fraternity as this particular ministry seems to have been restored – and back with a thud of a bang! The business of the day has been touring press houses on

familiarization tours. Thumbs up. Stakeholder meetings have been held, consulting at various levels. That’s a ministry functioning right there. The much hyped Seventy-five local percent which seemed to have vanished is back too. Artists are under normal circumstances a happy lot nowadays. Needless to say that Urban Grooves, a direct beneficiary of the policy back then feel a vibe of rejuvenation – maybe as Zim Dancehall this time. All seems well … or is it? Check – my feeling is that to be effective in the country’s info and media front, which are the face of the country in some quarters there needs to be a little bit of a shift in the operations of our much loved ministry. In terms of info, of course we can be a great nation if we can spread our INFO –la propaganda, through other communication and info dissemination media.

My feeling is that to be effective in the country’s info and media front, which are the face of the country in some quarters there needs to be a little bit of a shift in the operations of our much loved ministry. Music is not the only avenue. It may seemingly be the most popular, but also check out the outreach and massive reception of film and television. Of course today we have celebrated musicians like Roki, Mafrik, Sniper Storm and many other in the Urban Grooves genre. They are a prime example of what committed government support can achieve though relevant ministries. In this case it was a mutual benefit scenario, with the government getting good press a-la ZBC, and the artists getting priceless exposure. Just one reminder though: the term artists do not singularly refer to musicians alone.

DID YOU KNOW?

Most widely spoken Bantu Langauge According to Ethnologue, Shona is the most widely spoken as a first language, with 10.8 million speakers, followed closely by Zulu, with 10.3 million. Ethnologue also lists Manyika and Ndau as separate languages, though Shona speakers consider them to be two of the five main dialects of Shona. If the 3.4 million Manyika and Ndau speakers are included among the Shona, then Shona totals 14.2 million first-language speakers. http://en.wikipedia.org/wiki/Bantu_languages

There are lots others as well i.e. filmmakers, theatre practitioners, visual artists, poets, dancer et al. With some committed support they too can spurn out celebs and plausible content for the returned seventy-five percent local content drive. Who knows, the practitioners in these genres too might have in some patriotic moves as was the case with the musicians last time. One may think that film and theatre for example have too much ties with donors, most of whom are Western and hostile … but look into that space and see who left them on that particular door … when nothing mattered, except music. Let me depart by affirming that this is a new leaf we have turned. Nobody knows the future, so we look into this ministry and wait with bated breath. We just hope we do not suffocate to our near-deaths waiting for GODOT. Just speaking on behalf of the other ‘artists’.


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www.povo.co.zw PHOTOGRAPHY // TAFADZWA TARUMBWA


THE POVO JOURNAL 2013

PHOTOGRAPHY // RUDO NYANGULU

TOWERA ‘The beautiful one that pleases my heart.’

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MOTHERHOOD


RUDO NYANGULU

but a badge of honour for those who embrace all that it means. I will show her through my life story that she can be everything her heart desires and all that her talents enable her to be. I was raised in a time where a black African’s aspirations where limited to professions as a doctor, lawyer, accountant, engineer...something with a perceived gravatus that is attained by consistent and focused study, the more ‘certificates’ the better right up

Whilst I could not change her gender, race or country of origin, which to some may be her biggest hurdles; I realised that I would have to deliberately impart in her a passion for ‘Self’. alternative narrative, a different story of what an African Woman is and could be in her story... The endless possibilities that a different perspective can give. Whilst I could not change her gender, race or country of origin, which to some may be her biggest hurdles; I realised that I would have to deliberately impart in her a passion for ‘Self’. I would have to spark a creative fire deep within her soul that would allow her to see beyond the lens that would keep her frozen in this debilitating frame that is the global view of, ‘The [African] Girl Child’. I would show her ‘how I made it in Africa’, how I wrote my own story and decided to be all I could be firmly living outside the ‘proverbial box’. I will teach her all my parents taught me; the belief that regardless of my gender, creed or colour, I too could be a ‘force of nature’ that the world would have to sit up and take notice of. Being an African Woman is not a curse or a cross she has to bare,

to the coveted ‘doctorate’ level which for many represents the ‘holy grail’. For a ‘girl child’ to be taken seriously, this need for formal education is not just an aspiration but a heavy burden and not easily accessible for the majority. Creative talent / skills are viewed as hobbies at best and a waste of time for the formally uneducated girl. I found myself passionate about photography whilst in law school as a result of these social views. My traditional African parents chose to be supportive of my ‘art’ but they

were insistent that I become a professional as ‘one cannot live on art in this world’. Without hindrance or the stiff resistance which the average female artist would face before she looked beyond the borders of her home, I was free to write a different narrative. I pursued photography passionately whilst fulfilling my commitment to study. I follow all my dreams and do so with passion and without apology. The result is that I am genuinely ‘all I can [and want to] be’. This gift my parents gave me I will pass on to my daughter, emancipating her from social and traditional views of what she can be because she is a black African Woman. For Towera I persevere, I continue to dream and hold fast to the belief that every woman can be whatever she wants to be and that she should embrace every opportunity that comes her way. I will keep on living life in full colour not just in black and white. I will continue to express myself creatively with my camera and tell my story and the stories of other women like me who dare to write a different narrative of the black African Girl Child. I will strive to be the best version of myself and ultimately I will stand tall with pride and embrace the names that tell the different elements of my story and make me who I am.

DID YOU KNOW?

Josiah Zion Gumede OLG (19 September 1919 – 28 March 1989) was the only president of the self-proclaimed, and internationally not recognised, state of Zimbabwe Rhodesia during 1979, before Rhodesia briefly reverted to British rule until the country’s independence as Zimbabwe in 1980. He was Preceded by Henry Everard (of Rhodesia) and Succeeded by Canaan Banana (of Zimbabwe) He died in 1989. http://en.wikipedia.org/wiki/Josiah_Zion_Gumede

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A

s I gazed into the beautiful brown eyes of my five week old daughter through the lens of my camera, I pondered the narrative of the African Woman; the assumption of weakness, stigma of disabling poverty and hardship that automatically come with it. I realised that she would carry these as a heavy weight on her shoulders simply by being born of me unless I give her an

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CHILDREN

Child art Treasures

SHARON SEVENZO

THE POVO JOURNAL 2013

PHOTOGRAPHY // SHARON SEVENZO /ART REACH

I

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began an arts programme for orphans and disadvantaged children out of selfish frustration at the state of my own life. I needed to refocus and redirect attention away from myself onto anything else! The only plan I had was to recapture and share the intensity of joy I felt as a child whenever I got to paint and draw. Equipped with scraps of paper from old varsity assignments and dried out poster paints, I stood before 15 cynical kids at a local orphanage and embarked on the most intensely emotional and creatively rewarding experience imaginable.

“EVERY CHILD IS AN ARTIST, THE PROBLEM IS HOW TO REMAIN AN ARTIST ONCE HE GROWS UP”

process in There is – PABLO PICASSO its purest honesty form. Art becomes about children’s a language that art that is hard to match communicates emotions or articulate. The legitimate and complexities where desire for accomplishment and words would only fail. acknowledgement, the need I’ve learnt many things to be spectacularly profound about creativity; some have or to impress or to just make a deeply shaped my thinking, living is often absent, resulting and others I’ve outright in work with an emotional rejected! I loved discovering integrity that is both delightful creativity was an intellectual and captivating. Spontaneity, process, requiring the use of pleasure, uncensored thought, wisdom, understanding and unbridled freedom of choice knowledge, but it is through and feeling; these are the the creative eye of a child that hall marks of children’s art. If I’ve rediscovered the crucial you’ve ever seen the sheer glee components of heart, soul and steadfast concentration and spirit. I cannot share of a child engrossed in finger my gifts, skills or talents without sharing my heart; painting or clay moulding, you they are one and the same. have witnessed the creative

I wonder then how different the local art scene might look if we infused more feeling, emotion and intuition into creativity, with the same child-like zeal and nobility. Might our galleries and theatres, be filled with more works of wonder, discovery, experimentation and exploration? Great art is said to be “uncompromisingly honest, unselfconscious, bold, ambitious, enlightening, original, challenging and a feast for the senses”! Tall order? …Yes! But imagine what an artistic and cultural evolution this ideology could trigger! Just imagine, and then try it.


After what seems like ages, I have found my inspiration through taking pictures using my iPhone. The challenge is always firstly, take pictures that are technically proficient and secondly trying to challenge myself to see much more than I generally see with my “normal camera”. I moved into Johannesburg CBD exactly over a year ago and it’s then my “eyes” were opened to a Joburg that very few care to imagine or experience let alone can fathom. A friend and I started cycling in the city every Wednesday night, taking pictures of our experiences, with time it changed to early mornings. At the time that part of my photography was limited either to late nights and early mornings and now it’s a part of me. Iphonegraphy as most call it is slowly changing the face of photography, I am still yet to understand where it will finally lead but I am certain it’s a movement. I am inspired by Photographers who are braver than I am to try out their ideas or work on projects they deem important and face the on slaughter or the approval of an audience. I am getting there slowly and these pictures reflect what currently inspired me and the greatest lesson so far to learn to adapt.

www.povo.co.zw PHOTOGRAPHY // MASIMBA SASA

Iphonegraphy

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WEDDINGS

I LOVE / I HAte

Weddings (A page from the journal of a wedding photographer)

ANESU FREDDY

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rides and grooms will understand what we go through at weddings. Wedding photographers will resonate with this. Aspiring wedding photographers will know to stay away! 07 : 34 Wedding day. Wake up, bath, eat a solid breakfast. Next time I’m going to eat is probably in 8 hours. Double check all equipment…batteries charged, check! Memory cards cleared and formatted, check! Packed some water and an apple or two, check! 08 : 47 Got a call from a panicking bride…frantic… she’s asking why I’m not ‘here’. “Your wedding starts at 2pm, you’ll probably begin preparations around 1130, if I come their now, my time starts ticking, your 8 hours will be over before the wedding peaks”…I tell her calmly. I get calls like this more times than I can count.

The transport guy calls to find out where he’s picking me. “I’ll be there just now, wait for me outside” he says.

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PHOTOGRAPHY // ANESU FREDDY

10 : 12

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11 : 45 I’m still waiting. Maybe I should have just organised my own transport. #frustratedfordays! I’m thinking to myself…I should really write that article about my wedding experiences.

Finally…he’s here. Apparently he decided he could also see about the 11 : 58

drinks while he was at it. Tired already from standing and wedding hasn’t even begun. Brides house. She hasn’t even started dressing. I think to myself…If I’d come in earlier….I’d be bored dead right now. Camera out… basa ratanga. Shoot every interesting thing you see… even before everyone is looking glamorous. They’ll love these photos. There’s the bride in her night dress. Click! Click! Click! Those look like her uncles. Click! Click! Bridesmaids frantic about their hair and makeup, Click! Click! 12 : 35

12 : 42 “Ko mava kutotitora mapicture tisina kuchinja? Chimbomirai titange tageza”. Click! Click! Click! I smile at them. 13 : 12

“Where’s the guy who

takes photos? The bride is almost finished preparing”. Huh? But didn’t I told you to let me know as soon as she starts dressing? I walk into the room…pretty small… most space is covered by the bed. The eight aunties in there don’t make it any better. I try to find the best angle to take photos of the bride. “Ndiri kudawo kutora muchati maphoto, ndinokumbirawo mubude panze.” She reluctantly walks out….and comes back in again less than 5 minutes later. Click! Click! Click! Lighting in small rooms can be tricky. Pull out the speedlight and bounce light off the ceiling. Much better! 13 : 18

Leaving for the ceremony venue. Where’s my transport guy? Already left? 13 : 45

Agghhh…but didn’t I ask for someone dedicated to just me? This is the last time I’m negotiating about transport. “Hanti imimi vemaphoto munoda mota yakavhurika kumashure?” No! I don’t take photos while the convoy is moving. And I don’t like the back of open trucks! Aagghh! Ceremony Venue. Click! Click! Click! Those women in those funky hats must be close relatives of the groom. Click! Hey…the page boy looks neat. Click! 14 : 27

14 : 52 Ceremony. It’s almost time for the kissing. I hate this time. Tablets, smartphones, point and shoot cameras… everyone’s the photographer these days. They are distracting my focus. I ask the MC to make an announcement that only the official


with food I can go out and get my own for an hour. The bride panics…calls the caterers and orders them to get me food immediately! The caterer lady…who had told me there’s no food for me earlier….looks at me funny. 17 :45 Back on the job. The bridal train is on the dance floor. LOL! The ‘steps coaches’ always..and I mean ALWAYS… wants to out-dance the rest of the bridal train and steal the show. The guys are born of the same mother.

I’ve been on my feet for close to ten hours now. My legs are on fire. 19 : 56

Wedding’s almost done. Vote of thanks. I’m counting the minutes. Need to sit down somewhere…my wife calls “What time are you coming home? Hamusati mapedza?” Ding ding, visa expired. 21 : 32

Ceremony’s done. I’m beginning to get hungry. Where’s my transport guys! Aaagghhh! Damn! Tava kuenda kumaphoto. 15 : 02

I wish the couple had consulted me before they chose this park for their photos. I hate shooting in parks. It’s so cliché. Let me survey the place for spots that are…ummhh…different. Ok…we could do something in that driveway. And that bridge. We could probably also get some good shots by the tool shed…they are probably going to think I’m crazy. 15 : 34

Where are the relatives? I need to start with them first!!! 15 : 44

“Inini ndinoda kutorwa yangu ndega nevachati”… ..”Aihwa sekuru…regai tiite ne order”…”aaah kana… ndiri kutoda yangu ndega.” Ok chimirai apa…Click! 15 : 58

“Watora here…sei ndisina kuona flash?” Aaggghh! That’s how it feels inside…. 16 : 24 Done with everyone. Whew! Finally. Now it’s time for the bride and groom’s shots. I enjoy this part the most…this whole day is about them.

For some reason we were cultured to pull a smile and pose awkwardly to the camera. It takes a couple of minutes to loosen the couple and get them relaxed. That’s much better. I love the shots we’re getting.

The time keeper’s on my case…giving me three minutes to wrap up. I tell him…this is their day…let me get them the best shots. People at the venue can wait. He says ”Ok, five minutes then.” I ignore. 16 : 34

Done. Great shoot! This is why I keep doing this! 16 : 59

17 : 20 At the reception venue now. Everyone’s had lunch. I’m so hungry!

Food’s finished. “Kwasara chevachati!” Remind me again why I keep shooting weddings when I experience this All the time??? “The food’s finished, kwasara chenyu, I’m going out to get some food for an hour.” My contract has a clause that states if I’m not provided

Back to the bride and groom. “Guys, we said you’ll take care of my transport… where’s my ride home?” “Aahh mira tikutsvagire munhu ari kuenda kutown.” Yup...this is definitely the last time I’m letting the couple organise my transport! Defintely the last time! Back home! I need to put these photos on the hard drive so I can start editing them from tomorrow. 22 : 40

Can’t wait to see the looks on their faces when they see their photos. I guess this is why I love weddings and I keep doing it over and over again!

www.povo.co.zw PHOTOGRAPHY // ANESU FREDDY

photographer should be standing…everyone to return to their seats. Much better.

21 : 50 Where’s my transport guys!

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TALENT

Artist Must Be Multi Faceted

Calvin Chimutuwah

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o, with this problem at hand, the question is what can artist do and I believe that there is a lot of things that we can do; and the only one thing that is making us remain behind is because we are not united.  We are working as individuals.  This is not like we all go in one studio and just scramble for space but this is about building our own future and making our voice heard as one out there. For example, for the past, 4 or 5 years we have failed to form an association for artists.  

say you know what guys, go to ZIMRA, we want no duty when bringing in art materials. We can’t go there as one voice because we don’t have that association.  So that’s a challenge.  A solution is to form an association, so that all our views come from one mouth. And the other thing for this challenge that we have as artists, as individuals, my advice is for every artist to be multi-layered.  I know of a youngster who’s obsessed with his work and it’s the only thing that he can do.  There are many other things that an artist

THE POVO JOURNAL 2013

My point is be multi-layered; be versatile, so that if painting is out of season, probably photography, graphic design or teaching is in

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We have tried to come together and I think it’s a matter of one wanting to be the one heading that. We don’t want an artist who’s going to lead all artists. We don’t want that kind of approach.  Rather, we want artists to come together and if there is anyone who’s leading, whatever that association, heading that association for a season they should be able to mentor someone and lay the baton to the next person and we circle the whole thing and the association will just start to run but we have failed because everyone has got his own agenda.  Its like probably I will make money out of this.  There’s been funds that were promised and probably, it were the wrong people who went into those meetings to form the association for artists.  If you ask why hasn’t there been an association for artists that could then stand and

can do; if you are a painter, you can be an illustrator; you can be a sculptor too; you can be a graphic designer; you can be a photographer. Art is not selling so, do I just sit and say this labour of love will feed me? No!  I have to be multi-layered, so that I have money.  Personally, I want to make lots of money so that what I’m saying will come to pass because without money, then whoever has got money will just control you because art speaks loud.  That I know and I know the power of it and whoever’s got money will just use you to fulfil their agenda. If we could be entrepreneurs; if you can even get a second job, you could teach art.  There are lot of teachers who are supposed to be teaching probably Science or Shona but they are teaching art. My point is be multi-layered; be versatile, so that if painting

is out of season, probably photography, graphic design or teaching is in; so that there is at least food on the table. You are not always working from an empty stomach whereby whoever comes with control, you just rally to them and just do whatever they want. So, that’s another solution that will help us to come up with a way of working well in a conducive environment, as artists. So, if we are multi-layered and become more entrepreneural and have a little bit of money on the side, we can work together and when this association is put together; then we have one voice. Then we can support each other; we can raise funds together; organise exhibitions; we can go even to galleries and say you know what, we don’t want control. We are here as an association and we are arguing that there is too much manipulation that is happening in the system to the extent that we are not really able to express ourselves. So, those are some of the solutions that I would say would help the contemporary art scene. I would also want to comment on basically, how the world would view us; will view Zimbabwean contemporary art. If you look at it from the world’s perspective; the contemporary art scene in Zimbabwe; it’s like a joke sometimes.  It’s like we don’t know where we are coming from and we don’t know where we are going.  We are waiting for someone to say do this; and then we all do that because there is dollar sign attached to it.

What’s

Beef? A quick few words from Zimbabwean Producer / Rapper BegottenSun on his take on the perceived beef that is in Zimbabwean Hip Hop. What is the main motivation of beef in Zimbabwe? Nil. There is no real beef at all. Does beef play a role in Hip-hop, is it a necessary stage of the development of the movement? Nah! By definition being competitive isn’t “Beef”. What’s the difference between beef (Dissing someone on a song which he responds to with his own) and a one on one freestyle battle? Beef is calling my wife a bitch and kids bastards. Some personal shit that can cause blood to spill. Battling is word play. Kusvotesana etc. Like war cries during a football match. It’s all fun and games. In this ongoing debate about Hip - hop in Zimbabwe, what is unique about Zimbabwe Hip Hop that we can call our own, since rappers are being accused of just copying American lifestyles and narratives, just changing names, dates and language? Most Zimbabwean hip-hop is American cloned music made to sound vernacular. Its rubbish! I represent a generation that is currently reinventing Zimbabwean music through the use of Zimbabwean instruments, live sounds, percussions, poly rhythms etc. Ninetynine percent of the other Zimbabwean producers are still trying to get their best Rick Ross beat impression. Shout out to the others who are trying but still haven’t reached my professional level. In American Hip-hop it can be argued that the whole beef issue was a commercial gimmick, with rappers later making up and recording together. What is your take on the commercialisation of beef? It’s cool. The perceived beef between the North and South has been good for debate and picking sides. But play Happy or Party Yatanga anywhere and you get a positive response from the audience. Some really cool songs have come out from beef, with some of our favourites being 2nd Round Knock Out by Canibus and the verse that started it by LL Cool J on 4-3-2-1, and King of the Hill by West Side Connection. Which rap beef stands out for you? Ether and Takeover. Nas was name calling, and the streets gave him the win. Jay Z told the truth and in my eyes won the “war”. What would make you draw the line and say “No, i gotta dedicate a song/verse in response?” Anything, mention my name and I will get at you. This is fun sport for me, I love it! Follow Begottensun Soundcloud > https://soundcloud.com/begottensun Twitter > @begottensun


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PHOTOGRAPHY // ROBERT MACHIRI


FREESTYLE

M

the

MUNETSI

this, I tell you // Musadye muchero uyo kani //Uri forbidden //You don’t wanna listen // Ndokudzingai down to hell //Where you can chill with the devil //Um protected in this paradise with an angel //Ine flame and sword // The game is bored //Because mUnetsi came like a concord //Nose down // When I lift off its nose up //I’ve got the gift of Gab //Um so sharp I might stab //Mweya wako until wakusvika kuna Mwari //Pauno enter denga ogoridwa kunzi ah //Mwana ari kubleeda //

(MuNETSI Intro) Ah move it not // Chew it nah //Puttin it back savin the fact //Ev’body know I’m making these tracks //Makin it rap //Makin it phat // Pushin the back //You know watsup //We know we in touch // I got that brush //You not as much //I’m out of wash //You get brush //I wear like that //We on the show //I push them flows //Get that doe //Do what you want //Put ‘em on discount //You can’t front //I’m bringin it back // I swing the trak //I’m ready right? //I’m ready man; // Psyched up and stuff // Yo ladies and gentlemen // Welcome to MuMonday’s episode Deux! (Verse 1) But now you late //Well; la – lady //Ladies and gentlemen (echo) // Ah-ah sentiments // ) Ah-ah you all // Ah – ah- all // Yo, yo // Serious responsibility // Pandinorapper it’s criminality // Penetentionary bar system // MaBar system like // Lawyers when they takin them tests //Put it to rest //You now rockin with Zimbabwe’s best //I’ve been blessed with the gift to just rock // Off the top of the dome // Until I starting bangin my chest like I’m King Kong // Empire State building is the same old feelin when the ozone layer starts // It’s gettin broken and you outta here // mUnetsi solo winds like photosphere // And we see the vision even if it’s not as clear // As it we wanted it to //I even supplant you // And if you are the Governor then I’m coming to reck at cha // Um, I there to raise new temperatures // Get the aperture while I get the fuller um, picture // (Verse 2) I’m a killer //True assassin //You still browsin //And um Googlin folk home //Takin it home //And um chillin n’ lounging on the loafer //

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Rockin this from the dusk to the A.M.

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//MCs, yo yo //You can’t play him //You better stay away //You best beware cuz um outta here // And um well aware of my environment //mUnetsi got consignment //I’m so militant // Beleaguering forces that I do have // Ndinorova munhu wese //Who doesn’t have a shave in their head //That’s 98 per cent of the population //I still crave for kusvipa //Nhasi zvinhu zvazoipa // 6 October and um ‘bout to rock over

//Kunge matombo ekuEpworth //Um ‘bout to give birth to a lot of rappers and then give ‘em death //That’s called um //Building and destroyin //That’s

called um // Firin’ and employin’ // Yeah’ and I do this for enjoyment //In a way you can’t avoid this //Ndanga ndada kukosora //After asara though some saliva yadzika //Down the wind pipe // Man I been tyte // Ever since like 1988 //Yo kazhun type //Because God blessed me //You can’t curse me //You study my freestyle then rehearse me //Just to see if God really uncursed me // I do this from the banks of my memory. // (Verse 3) With flow so I make ‘em withdraw // Cuz you nothing but a window shopper // And um ‘bout to come in helicopter // And um pullin these cars over // Kunge maPolice Officers kuCalifornia //Rest in peace // Ma emcees that over saturated kunge population density yeCaledonia //Man um onto ya //I still haunting ya //Like a ghost of Fafner Hall //Um ‘bout to make another cellphone call // Microwave energy // Ndichipa myself some synergy //mUnetsi ane chemistry // Without the biological classes //My emcee they sweeter than molasses //They like suckerin //They still suckin kunge vasati varumurwa //Ndinovagura head up //Zvichireva kuti you decapitated by my guillotine // It’s emancipated kunge black people // Ironically vachiri kupfeka chains and they rock whips //Um that deep // So deep in fact that Atlantic Oceans seems like the shallow end of a swimming pool //And my gene pool yaka studwa ne mascientist // They withdrew like compounds, atoms and even molecules // Then it put the whole human race to ridicule // (Verse4) I belong to Mensa //IQ yangu when um spittin swiftly is 150 //Um

TRIVIA Instead of writing about the frestyle we just decided to transcribe and let you judge! The longest freestyle by a Zimbabwean rapper weighing in at 59mins - 22sec. Its fitting that title is carried by Zimbabwe / African lyrical heavy weight mUnetsi. Ironically titled mUsain Bolt but its anything but a short dash! We have highlighted a few of our favourite lines Verse is when there is a change in instrumental We only managed to fit in up to 19 minutes! Each Week mUnetsi releases two freestyles on monday #mUMondays and on friday #FearMeFridays. An impressive work etchic and passion for the art. Two studio albums, Muzukuru WaGogo and Chaminuka Zimbabwe Super Hero Listen on soundcloud https://soundcloud.com/ munetsi / https://soundcloud.com/munetsi-1 Follow him on twitter @incrediblemU Some spellings and names maybe incorrect

still shiftin kunge magear aNigel Mansell when he was doing F1 //Um formula racing // Um embracing, a lot of concepts and philosophies // Mainly from the East //Every rapper claims that um a beast // So, ever since this I’ve been rockin triple 6 // I hang around //No, I didn’t want to say that but I been around //You got no flow //mUnetsi hands like clothes in wardrobes //Oh my God //Oh my Jesus //mUnetsi is on his knees, praying that there is crisis ine humanity //We’ll be dealt with soon // I can imagine that the future without MuNesti is so dim //It’s so dark //It’s so grim //You are fishy kunge salmon nebream // Ma emcee anonyuruwa from Kariba //So its still, rhyme after rhyme //Fishing competition //Line after line //My God, I’m so divine triple 7 entering heaven //Ndiri paradise, ndino rimwa kunge garden of Eden //Then after this after

(Verse 5) This year maemcee achaconceda defeat //Ndino defeata kunge tsoka dzenyu dzinoperera pama ankles //Ah you at wrist kunge bangle //My God you at risk //You got freckles //Um all up in yo face my brethren // mUnetsi rocks fo the brothers and sist’rens // Marasta anondifarira // Hanzi this kid knows about black history // Like February month I have always been blunt // Kunge zvaiputwa naBob Marley //Um that party intotangwa ne maRevolutionary // I won’t lean back // I can’t stand back // I can’t pretend that // That um wack I’ve never been sub-par // Mabars angu pandaingo szvipa ever since the first verse //Made emcees stand in amazement //Straight up to the ceiling from the basement //We in the building kunge cobra yered // Kwa kwa kwa P.D and dead //Vanhu vese vano laugher but instead //I was bred as a stranger //Hip hop messiah // Ndakakurira mumanger // Ndiani a’dakuzviita anoketa //I kick it like um Swarez //I don’t watch soccer i just picked that name off the top of thin air //Its been fair //And its been clear //And I have been pairs //Maemcees they keep trying this //Um conjoined pa makidneys kunge Siamese // Twins and its embedded in my genes // Frankenstein monster like 2014 // Maemcess they acting like stubborn teens //Vasingade kutereera from their parents //Um still fighting ZIMURA to give me some clearance // (Verse 6) Oh, ndakosora //Maemcee lotion man //Varikuzora //Then after this //I recognise varikutora to much time //Trynna bust too much rhyme // Chibeat chau’da kundirasisa //Its actin funny //Nowadays rappers wanna sing about money //And they dummies //I rap like an Egyptian mummy //Yaking um //Tutankhamen //I keep comin like women // What they doin // I didn’t mean to swear oh my God //I took it there //


incredible

floating // I put thoughts inside of a casket //

(Verse 8) Which means ndouraya pfungwa //Slicing it up kunge Bakers Inn nechingwa //So in love with the hip hop game //And um ‘bout to put it up in the whole town drain //No // And that’s the theories //Um  on the front line // And my gun line // That though mUnetsi stay halos // No, mavoice arikutaura //All um trynna do is speak zvinhu zvino dhura //Well , you can’t even come close // Muri hemebe dzemubhero when it comes to rhyming // Um designer clothes // YSL // Pfungwa dzangu // Wide as hell // Which means // Hadziperi nekudzika // Maemcee wavava kunge paprika // Soon as mUnetsi azosvika //Ndiri mambo Zimbabwe neAfrica // Yo, muchashamisika // Yeah // how can a man be in love // And feel alone // When he has a woman like you stuck up in a zone // All i need is a queen to complete my throne //O-oh um a diamond that’s shown //It’s really hard kufreestyla pabeat rinotaura // But i do it like

its nothing // Coz its nothing // You emcees writing like its something // Put your Blackberry away // Go suck away //And you can tuckaware // The new day // Tichiunza 7 December or October // Its what I meant to say // Yes the Monday // Um introducing maemcee they were giants //Um reducing them down to a pulp //Ndiri as cold as the summit // Iri kumaAlps nemaHimalayan mountains //Ha – ha Mount Everest // While you smoking Everest // mUnetsi put it better than the rest // (Verse 9) Ndiri ZIMSEC // When it

comes to testin these kids // I do good deeds // Good Samaritan // mUnetsi half martian // Like Malvern but emcees they start dwelling on past issues // Zvimwe zvacho zviri petty // You not ghetto no more // You look pretty // So fabulous // I rap for 2 hours // Now maemcee they come softer than maruva // They are flowers // But the game is almost over // 4 kilometres there’s no one closer // Hapana munhu watinokwata // It’s so spot on // Munhu watino respecta ndiBeggotten // Synik and um then Outspoken um to Di Electric // The rest of you will get broken //In my sleep //Um that deep //Superman i take a freakin quantum leap // Ndakajhamba // The minute yandinozolanda // I’ll break one of Satan’s rings //I do my thing //Um as lovely // Fly like angelic wings // Kana achi bhuruka vari kudenga //With four figure heads // I even trigger lead //

Inotanga kushoota vanhu kunge ZDF

// Pavairwa hondo kuDRC // Hapana munhu anondikunda paM.I.C // Cuz M.C zvinoreva kuti // mUnetsi’s Chosen //MC means it’s cryogenic //In

my memory which means the memory is frozen //Man i gotten its a little O // My God should I rewind that // I find that a lot of emcees // Wanna blind back the Ray Charles //

(Verse 10) Um we internet like pay pal // I served you over the net kunge Vennese naSerina//Maemcee zvazotswinya // This year marocka nemonya//Inoansa vakamira padoor // I’ve got many flows saka um feelin like a banser // In nayro struggle // It ain’t no struggle//Coz kandinorapper // I buy sex // Ndine mamuscle // Get

it Bicep // Bisect sounds similar // Mahomonym aya atirikutara // Pause there is no homo // Just becoz ndati homo // All of a sudden you feel sexually aroused // I even browsed your history and your past // And it’s quite curious // Like your sexuality // Probably I’ll be the greatest emcee this world will ever see // Cuz I rap from the top of my spirit // Ndinenge muface uye nda’fem yemalimits // Limitless when he swallowed that pill // mUnetsi’s like a hospital // Um that ill // Wow // I even pay my bills // Maifunga kuti muchandibata // But ndakakufundai mari then you became Lady Squanda // When you tried to reach me//Nda’ndaenda kunge ZESA // Though you paying your bills // On line off line//It’s that real//When I log on // They log off // Um that hard you Microsoft//There’s no Windows how I Excel // It’s Power on Point // When I put my Word in// And um still here// I quit them heads in//Tinofudza kunge mombe// (Verse 11) This year tazomhanya nemukombe // Tiri Team Hombe // We ain’t Stunners // We brought that word Arsenal // Tiri maGunners // Emcees  they can’t say nothing upon us // Ndakabhabhatidzwa naJohn the Baptist // Mwari akati this is my son // The lyricist in who i am proud // So like Moses before the sea // Um born to move the crowd // It’s not allowed // But ndiani azviprohibita // Ndiri’ramba ndichisvipa // I wish i didn’t have saliva // So that I could go continuously // And keep it liver // But dai ndadisina amoles in my lips // It would become unpalatable // Which means chikafu chandaitsenga hachaizo digestwa // With the first stage ye um kudya // Varikutya kuti mUnetsi kana auya // He’s sworn is grind achiramba achikuya // Wow // I keep mixin // I keep trans fixin my sight upon thes e vixens//Mawomen these days vano modela//Their selves and their character // After um Nicky Minaje//I call that the double tragedy //Tichiram’mo muZimbabwe//Really in reality tiri kuda kuona zvinhu zvine // We don’t care who rooze or what not // I keeps it that hot // Long focus // You like attention span // So short // Oh we can never be bought // Ayo Django where the hell did you chain go // Munetsi arocka // Ari deranged so //Vanhu vanoti anopenga //I do not like this beat one single bit // But um the king of the streets //I gotta do it //

And move like electrons //Muconduits // Which means I testify that umm // Load yatino cover iri muaverage //Ma emcee ndinokutsengai kunge cabbage // Pamariro // Zvazino tinovhura nemazino kuvaudza kuti // Tinenge maChino we stay so envogue // You hate me because um such a Rogue // X-men feel like Wolverine // Tricks up my sleeve like I stayed in the joint u-ah // Pyramids on point // Kunge obelisk iri muHarare Garden // (Verse 12) Who else think that they Joe Buddens // I jump this stuff when you try to pump it up //Vanhu vazhinji vaiba maflow // I tried to keep it high but you did on the low // Wow you came out the closet //I run Zimbabwe ndiri Robert //M.U.G to the A babe // (Verse 13) Emcees still wanna stray babe // Murikunditsvaga muchitit m’pfana aenda kupi // Baba Shupi word //I need a hook for this //What // Camera spot on //I need a look for this // Ndiri pano musanditsvage // Don’t act like um hard to find // Words that i spit is // Bars for the mind // Emcees trynna seek counsels with the dirt h-ah-ha ha ha // Alien technology yaunza kwamuri // Yopinzwa to the back of your nervous system //Now hows that for neurology //Numerology // Study the numbers // You see when I slumber // Nyangwa zvinhu zvichijomba //Hazvimboramba //It’s that dip //Which means mawackest rhyme // Is probably one of your best oh // King um runnin this test // Invigilator // Um as cool as the inside ye refrigerator // Even deep freezer //You as empty as ma fridge emugutter //Ghetto //Kurokhesheni // This vocational // I got capability yandakatora //Um light speed //6G // Network yemacellular phones //Flying over the land like American drones // You ain’t me // You just a clone // Ndokudya kunge cone // yeIce cream //Go to sleep //Have a nice dream //Wow triple beam //Um aim at the rest of the game and so it seems //Ma emcees you really need a gym //They were claiming they’re phat // When they really over weight // Wait // The told me its hate // Hold up // They know that um great // Sort of // Ever since Grade 5 I have been on my promenade // And i serenade you // Ndokupinza uri mulalaby // Then I say I hie in the morning // Which means ndokurarisa nezvibakera //

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(Verse 7) No, no sexuality //I explore some contours and in fact //I happen to force maemcees // I make em look into their drive like windows explorer // Yo, muri ana dhora // To macartoon charaters // Speaking foreign languages // I used to carry alien baggages //Til I got dropped off this mother ship //Um on some other lip //Yandiri kutaurira vanhu //Varikuda kuungana on some sistership and brothership //Ndoabuser this emcee out of protest // They so feminine ndofonerwa Msasa Project //Zvonzi no mUnetsi idomestic violence // You shouldn’t have rapped // Waidai wakavapa silence // Ndine mileage // Yandiri kungoketa // 1 million kilometres away from Qatar // Iri kuIndia //It’s pert urban how emcees //How emcees is closer to the shores // Kunge Durban //Oh my God //Beat rine tempo // Ino reducika even when the pitch stops // Um able to manipulate time therefore influence rhyme // And they enter their mind with some forceful genealogy ya Sherman Japhet // Maemcees um futuristic like a prophet //So i gotsta give u your props // See in me // Only means that clairvoiant // Buoyant // You keep

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1918 - 2013

NELSON MANDELA A COMMISSION BY WALTER MURRAY

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POVO Journal 2013  

The 3rd edition of the POVO Journal. A collection of essays and a showcase of photography by Zimbabwean.

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