The aesthetics of Winky D's Zimbabwe urban grooves music and an overview of his social commentary on the post-2000 experiences in Harare and other urban centres

Abstract

Winky D is a popular dancehall musician who has recently risen to prominence in Zimbabwe. The rise is partly linked to the Zimbabwe government's media reforms, through the Broadcasting Act (2001). It stipulated that radio stations should play 75% local music, as part of its anti-Western imperialism agenda, and thus led to the growth of the Zimbabwe urban grooves music. Albums such as Vanhu Vakuru (Big Man), Chatsva (Fired Up) and Com 2 Tek Ova describe various experiences that have been occurring in Zimbabwe since the beginning of the crisis in 2000. This article analyses some of Winky D's songs to determine the nature of his music, its sonic aesthetics and significance in expressing the multiplicities characterising the current Zimbabwean urban conditions. The discussion, however, takes into consideration some of the criticism levelled at the musician (that he promotes violence and the sexual objectification of women, and lacks originality) as it analyses the songs’ creativity and significance in articulating the social reality of this urban Zimbabwe.