Hi Sis Noe

I am a married man but I have a girlfriend who doesn’t know that I am married. She is now talking about us settling down and having children. I love her I don’t know what to do. — Confused.

Reply

You are a man living on the edge. You are telling so many lies and leading so many people along, your mind is in a whirl. But the fact of the matter is that you are already married, so you are in no position to marry anyone else. Therefore, it’s only fair to tell your partner exactly what is going on and how tied up in knots you are. Of course, she is going to hit the roof, but she has to know where she stands.

Hi Sis Noe

My girlfriend expects me to do what she wants in bed but when I come up with my own suggestions she refuses flat out. Sex is about her needs, she does not consider my needs. — Help.

Reply

It sounds as if your misguided girlfriend needs to have it pointed out to her that healthy relationships thrive on mutual respect coupled with give and take. She needs to understand that you simply are not satisfied. Suggest rebooting your affair with romantic dates, early nights and nicer behaviour in general. Make it clear that you have needs too, which are currently not being met. Sadly, if the truth of matter is that she is taking you for granted and is treating you with contempt, perhaps you both have to accept that the respect has gone and the game is up. Moving on will not be bad idea.

Hi Sis Noe

I have a very beautiful girl but her behaviour worries me. She is very rude and bad- mannered. Even my friends don’t like her. I once took her out for dinner and she was rude to the waiters. — Worried.

Reply

You wanted to ask me if she is the girl for you – the answer is NO. She is not. You are clearly a nice guy; if you stay with her you will lose friends and even relatives because she is that type of girl who thinks the world revolves around her. She is immature and crude and was not brought up very well. Dump her before you begin to despise her. Your girlfriend may consider herself superior and sophisticated, but the truth is that she is a fool.

Hi Sis Noe

I am sleeping with my friend’s boyfriend. He seduced me and we have been having sex secretly. It is great but I have fallen for him. He says he can’t dump his girlfriend because it will break her heart. — Confused.

Reply

You are being used but unfortunately none of us likes to admit we are being used. I’m sure that this man is very smooth and makes you all sorts of wonderful promises. But the reality is that he is your friend’s partner and she is still with him. It doesn’t matter how much he waffles on about the future – he is in no position to be with you full-time and it would be very wrong of you to attempt to steal him from under her nose. Do yourself a favour and back off before he hurts and disappoints you anymore.

Hi Sis Noe

I am a girl aged 21 and I have two kids. The father is staying with another woman but he still comes to me and he says that he loves me and he will come back to me. — Worried.

Reply

You are living in denial and you do not want to face reality, so you take comfort in feeding on his blatant lies. But it’s about time you woke up, he is married, forget about him and move on with your life. I can go on telling you about the disadvantages of being with him but I won’t because you know them. The children you have with him should not tie you to him, there are many men out there would jump at the chance to have you. I don’t think you are comfortable with being the secondary woman in his life that is why you wrote to me. So do something about. At 21, you still many years and adventures ahead of you.

Hi Sis Noe

I am 19 and he is 26. My problem is that when I have sex with my boyfriend I start bleeding for some days. Please help me am worried. — Worried.

Reply

If you bleed after sex and you are not on your period see a doctor. If you have abnormal bleeding or spotting between periods than that could be a symptom of an STI and needs to be looked at. Although it is scary to think about, ignoring the problem could make things a lot worse. Bleeding after sex with your partner could be caused by a number of reasons ranging from a side effect of the contraception pill if you are on one to a naturally virus known as HPV which causes cervical cancer. Any abnormal bleeding must be looked at. See a doctor.

Hi Sis Noe

I am a girl aged 20 and my problem is that every time I have boyfriends they have sex with me and after that they dump me. I am trying to avoid it but I can’t. — Please help.

Reply

Treat yourself like a bicycle and men will ride you and leave you. You need to stop opening your legs to every guy that tells you he loves you because that is just a gimmick for you to let down your guard. Your history of being easy got around and now every guy who approaches you wants one thing and one thing only — to unload and leave. You need to respect and love yourself before you love a man. Loving yourself will see you attracting the right kind of man, a man who will love you for you not for what you were. Take some time off this dating game and list down the things that you want in a relationship. See where you were going wrong and correct your mistakes. Do a self-analysis and trust me you will come out a changed woman.

Raisedon Baya

I AM a theatre person and very worried about how we are selling our products. We are creating productions whose lifespan can only be described as stillborn. Our products are dying way before they are born or rather, they get born, seen on stage once and then that’s it. We never see them again. This has to stop. As theatre producers we need to be seeing beyond the premier night. We need to be producing plays with a lifespan of at least a minimum of 12 months. At least that way the play will get to tour and be seen by a variety of audiences.

When I talk or write about this, I always give reference to three plays that I have seen in the past, plays that have proved it’s possible to have a play with a lifespan of more than a year. My first example is always a play called “I am My Own Wife”. I saw this play at Hifa. I think it must have been 2005 or 2006 edition. I loved the play like everyone who saw it. One actor performing about 32 characters on stage. It was an amazing play. Eight years later I came across the same play, same actor, still on the road performing. Now that’s what I call a life. Amakhosi Theatre once created ‘‘Stitsha’’ and the play went all over the place. I remember watching the play when I was in Form Two and watching it again years later. I still was excited as watching it first time. The longest running performance in Europe was by a musical called ‘‘Mousetrap’’ which had over 27 000 performances. This is followed by ‘‘Les Miserables’’ and ‘‘The Phantom of Opera’’ in the region of 13 000 performances.

If our plays start being performed in different venues for over 30 times we will start talking about theatre as sector and thespians can also start dreaming of a theatre career. But for us to live this dream we need to start re-thinking about what we are doing and where we want to go. We need to be thinking about plays making runs at the theatre. At least a minimum of four or so shows. We need to be thinking about creating schools’ circuits. Taking some of the plays/performances around schools. This used to happen a long time ago. We need to be thinking about travelling theatre. Taking our performances to other places, other cities and provinces and even outside the country. This is how we need to be thinking. This may mean we need producers who are constantly thinking the dollar signs and looking for ways to make money from the products we produce.

A friend of mine always says plays are like shoes or other products. Artistes need to make money from their products. They need to find ways of getting people to the theatre or getting the plays to the people. Theatre artistes should be thinking on how to use social media to maximum on their marketing or even stretching the lifespan of plays.

This could be a situation cutting across most arts genres. How are musicians, for example, making a living out of their music? How are they pushing their products? Who is selling their products now that the country literally has no music shops? What other avenues are they exploring that’s not the traditional ones? These are the questions we need to ask as we do our rethink. The same questions can be asked for dance. Besides waiting for corporate functions and weddings, how are dance groups pushing themselves beyond traditional means of survival? And film? How are film makers making their money? Where are they selling their films?

In simple terms artistes need to make their money from the art they produce. Full stop. Most are not as we write. So, a serious re-think is needed.

Chicago (USA) prosecutors on Thursday filed 11 felony sex crime charges against R&B superstar R. Kelly, in what his lawyer said was a refiling of counts from an existing case.

The 52-year-old, whose legal name is Robert Kelly, already had been facing 10 felony counts, filed in February, for the alleged abuse of four women. 

He has denied the charges and claimed his accusers are lying.

The latest counts are refiled charges related to one of the four accusers and not a new case, Kelly’s lawyer Steve Greenberg said.

“These are the same conduct, just charged differently, same alleged victim, same time frame, same facts,” Greenberg said on Twitter.

The 11 charges handed down by a grand jury in Chicago are connected to the January 2010 alleged sexual assault and abuse of a person identified in court documents only as JP.

Three of the charges are for the sexual abuse of a child between 13 and 16 years old. In some of the counts, Kelly is accused of having threatened or used force against JP. The singer is currently out on bail.

He will appear in court June 6 on the new charges, US media reported. 

The Cook County State’s Attorney’s office, which is prosecuting the case, did not immediately return a request for comment.

In March, Lanita Carter identified herself as one of the four women in the Chicago case, and the only one who was an adult when the alleged abuse occurred.

She says that while working as Kelly’s hairdresser, the singer tried to force her to perform oral sex. When she resisted, he allegedly masturbated on her.

Carter spoke through tears about her struggle to come forward against a global celebrity.

“If I die tomorrow, I know that I told the truth,” she told CBS News. “It’s hard when it’s a celebrity. It’s not easy.”

The accusations echo previous ones of sexual misconduct that have followed the artiste for the last two decades.

In a March interview, Kelly vehemently denied the charges and said he was “fighting” for his life.

“I didn’t do this stuff. This not me,” Kelly told CBS News.

“Whether they’re old rumours, new rumours, future rumours, not true.”—Sowetanlive.

Tafadzwa Gwetai

The study of African art has encountered several impediments. African art can be described as being the the most complex of all the types mainly due to to their depth in meaning and a lack of understanding a strong bias inclined towards western ideals. 

Historiography is the study of the developments of the various styles of art. It involves the placing of all the influences that let to the existence of certain cultural norms. The conceptual framework of the European towards the African had to change as their attitudes were rooted in colonialism and their negative view of the African black man and thus art from Africa was debased. Africans were treated with no respect and thus were not given the social status that they deserved. 

African art history needs to be analysed and appropriately contextualised so as to fully comprehend where and why African art exists with out comparing the art styles to European art thus resulting in the degrading of other art forms over the other based on race. Contextualising art involves understanding of the forces that influence certain beliefs, rituals, behaviours and attitudes. The criticism of art involves the study of the culture from which the artwork was produced. Culture is constantly changing and this is what needs to be fully understood as the change that most Africans underwent was mainly not of their will and thus one must sympathise and appreciate these forced changes.

The West did not easily accept African art on the grounds that they could not classify the styles of African art according to their art types of which were based on Eurocentric schools of thought. European art was dominated by “literate” art academics and this was where the stumbling block existed when it came to the comprehension of African art. African art was debased on the grounds of a lack of intellectuals that would have explained and well documented the progression of events linked to art. 

“Academics” came up with terms that would attempt to justify why African art could not be interpreted and thus they “otherised” all art that was from Africa on the grounds there was no link to what they regarded as art. The term “otherisation” was a technique coined by the Europeans as a negative way to place African art in a group of its own, separate from the rest of the art forms on the basis that it was was under developed or statnic. “Otherisation” was also based on racial grounds as Africa was divided into two, with the bottom half being regarded as the sub- saharan on the basis of complexion and ethic groups while placing the the the northern half in a higher category. European art was termed “true art” on the grounds that they based their development on aesthetic standards that they set for themselves.

The “otherisation” of African art placed it in a league of its own and this meant that it had to be studied without any external references made to it. The attitudes assumed by the Europeans were degrading and dehumanising in nature. Africans were regarded as not having a culture and a history. Europeans perceived themselves as being superior over all other ethnic groups because of their advanced techknowlogy and state of mind that led to the existence of racial grounds of superiority over the black African.

To fully understand art, one has to contextualise it with the culture. Every culture that exists is highly complex as a result of the fact that art does not stand independent of its community in which it is created. The major difference between African art and Western art is the functional qualities that they possess. African art is is highly functional as the art works are created for the community as whole. Western art is not necessarily for the community but is aimed at the display of skill, an aesthetic agenda and is an on going process that focuses on change and development of one style to another.

African contact with the west has been highly significant in the fact that the colonial encounter destabilised our African traditional beliefs. Western ideas and philosophies and cultures are constantly overshadowing some of Africa’s true identity. Africa has had to do a lot of catching up with European standards and now has a commanding voice on the world platform of art discourse. African art has finally entered these levels of intellectual appreciation and the African art narrative has improved in global appreciation. Zimbabwean artistes have penetrated these global art platforms and our story is being told and understood by a bigger audience. Through the National Gallery of Zimbabwe in Harare, Zimbabwe has been participating on the Venice Biennale art platform since the year 2011. Our art from Zimbabwe and Africa as a whole needs intellectual justification and such platforms aid in legitimising our creations. Dialogue is created through the art forms and their purpose documents stages and states of mind of a community. We live in a privileged time when art is being studied form an African perspective and can own our stories.

Photograph – courtesy of House of Menka. Remember, ‘Legalise Art”,  promote, permit, admit, validate, legitimise, decriminalise, authorise. Feedback: houseofmenka@Facebook.com/houseofmenka@gmail.com

Rutendo Chidawanyika

THE first impression you make on a potential employer is incredibly important. When you meet a potential employer for the first time, they immediately form an opinion of you based on what you’re wearing and how you carry yourself. Regardless of the work environment, it’s important to dress professionally for a job interview because how you dress can either make or break the job interview.

However, some people have no clue as to what is inappropriate for an interview. In this article we highlight how NOT to dress for an interview

Bright colours 

While everyone knows that short dresses with plunging necklines aren’t acceptable for a job interview, wearing an appropriate dress that’s also bright, flashy colour, like red simply makes the situation worse. So be mindful when choosing your clothes. If you are going to wear a daring colour do it tactfully, making sure the overall outfit is conservative. There are other colours that are less dramatic but still work for interviews. Just avoid short hemlines and tight outfits.

Go easy on perfume/cologne

Don’t go overboard on perfume and cologne, as you never know if your interviewer might have an allergy or aversion to strong scents. Either way you don’t want to overwhelm them. Your perfume shouldn’t be the highlight on the interview, your ability to answer questions should be.

Don’t dress TOO casual

It can be hard to figure out what to wear for an interview at a fashion organisation or a magazine (editing) job. However, don’t go too casual. Be smart, formal yet fashionable. Men can stick to chinos, check shirt and neat farmer shoes or brougues. Ladies can rock skinnies, a nice blouse and heels. Don’t dress like you were unaware of the interview, the employer may be put off or feel you are not serious.

Don’t look dated

In a competitive job market everything matters including appearance. If your wardrobe is outdated or have been out of the workforce for a while and your closet reflects it, it’s time to invest in some modern fashion forward clothes. Don’t forget the shoes. Throwing on a pair of sneakers or an old pair of pumps, or beat up dress shoes certainly won’t make you look professional or polished. Keep up with latest trends, even if its formal.

Traditional ties make the best impression

Now is not the time to pull out your novelty tie you got last Christmas. Even if you think your tie will make a statement, stick with something traditional. A pattern with conservative colour is perfectly fine, such as subdued stripes or paisley but don’t try to be the clown in a funny tie.

Don’t overdo makeup

While it’s important to look your best, loads of makeup is not the best way to go about it. Keep your look natural, avoid dark eyeshadow, bright lipstick or heavy foundation. Your best bet is to stick with a light coat of mascara, a touch of powder and light lipgloss. Aim to look refreshed and awake without looking to done up.

Get the blazer right

While a blazer is a good go to choice for almost any interview, be mindful of what you wear underneath. It goes without saying, the deep V formed by the blazers lapel creates a plunging neckline. If you are going to wear a camisole or a shell underneath, make sure it’s appropriate. 

This applies to men as well, wearing a blazer on top doesn’t give you the excuse to wear a tired old tee underneath. Take the extra effort to wear a button down shirt.

Leave the earphones at home

While it’s fine to listen to music on your way to the interview, take them off before you enter the building, put them far away before you get called into the interview room. Otherwise you risk seeming distracted and unfocused, and you certainly don’t want to be fighting with tangled cords as you meet and shake hands with the interviewer.

Minimise accessories

Both women and men should keep accessories to a minimum. Ladies should avoid unnecessary jewellery, instead of big hoops or chandelier earrings, opt for classic studs. It’s also a good idea to avoid wearing flashy necklaces, large sunglasses or too much bling and sparkle.

While accessories aren’t so much of an issue for men. It’s important to be mindful of your cufflinks, your tie clip and belt. Don’t wear anything you might wear to the club.

Put your best outfit forward when you go for that interview. The way you look does really matter. Good luck. —Additional information from online sources.

Rutendochidawanyika3@gmail.com

Bruce Ndlovu, Sunday Life Reporter 

RASHID Jogee still vividly remembers the day he met the late Dambudzo Marechera.  

It was a lazy afternoon and the abstract painter, sculptor and part time musician had decided to take a stroll and break from all things connected to art. Little did he know that at the end of that stroll he would meet a man who he would instantly befriend, a man whose character mirrored his own in many ways. Like every story that involves the late maverick writer, it is a tale that is not short of drama. 

“I said let me take a walk to the Hotel International and go away from the arts scene a bit and meet the common people and see what they are thinking. I arrive at the hotel and he’s behaving crazy. He’s got dreadlocks like a Rasta and he’s jumping around. He’s a very active and lively person,” Jogee told Sunday Life.

Drawn to each other because of a mutual love of mischief, the two would instantly hit it off. 

“We go to one place, probably a pub I think. Then we start to fight. He is attacking me and I am attacking me. We’re basically improvising and then everyone gathers around to see the spectacle. Then they start buying us alcohol to pacify us. That guy George Shire told me you’re just like Dambudzo and I told him that was my best friend,” Jogee said. 

Marechera, a social outcast who never felt at home in Vhengere, Harare and London, had found friendship with Jogee, himself a self confessed outcast who had found himself despised by some teachers and schoolmates in the 1960s at a segregated Founders High School. Encounters between the two were always fun-filled but on occasion they brought blood and thunder. 

“One day at the Meikles Hotel, there was an argument and he wanted to throw himself through the window. He did and he throw himself through the window and he was cut badly. We even had to call an ambulance came to attend to him,” he said.

Marechera is perhaps the one person that can be compared to Jogee, a versatile artiste who was awarded the Presidential Award of Excellence by former President Robert Mugabe in the mid 1990s for his contribution and outstanding dedication the visual arts in Zimbabwe. 

A visit to his home, tells a tale of a man who, like Marechera, has not only dedicated his life to art, but to being a social rebel. He has declared himself a committed bachelor and recalls the one year in his 68 years of existence when he lived with a woman. 

His home betrays the lack of a woman’s delicate touch. Almost every inch of what seems like a makeshift abode is covered in art. The furniture in his home looks like it came from things he salvaged himself. One half of a sofa is completed by another piece that came from another sofa. His pantry is full of the tools of his trade. 

“Some people keep food in their pantries but I keep paint. I call it food for thought,” he told Sunday Life with a smile on his face. 

It is perhaps not a coincidence that Jogee refers to 144 Fort Street, as his art studio.    

“I have a flirtation with music. In India my family members are musicians. They play Qawwali. I couldn’t get into music here but I found my creative outlet. My cousins and I had a band called One Way Traffic. It was made up of Hindus and Muslim coloured people but it was in Harare. So I couldn’t play with them and I said since I am all alone I might as well find something else to do and so I found my creative outlet through painting”. 

Marechera’s words painted a picture of a man who was at war with himself and society, a man who used his novels to sneer at people that would not accept him for who and what he was. Jogee, the son of Indian immigrants, has also found himself alienated from the local Asian community which he believes looks down on him for what some would think are his strange lifestyle choices. 

“I am an outlaw in the community and I enjoy being an outlaw. I make inflammatory statements even in the mosque. I can be terrible to them because they’re terrible to me. An eye for an eye is what I practice against them.

“My grandmother came from Cape Town and she was a Boer. She was white and she met my grandfather while he was coming from India. He married her and he became an influential businessman doing cut, saw and trim and became an influential businessman,” he said.

For Jogee, his mixed ethnicity has been a source of deep personal pain over the years. 

“When you propose to their daughters they refuse because they will say we don’t want him in our families. For example, my sisters attracted a lot of young Indian men but a parent would say no, don’t marry from that family. That really broke my heart.” 

Unlike those who he says isolate themselves, Jogee has found himself at home among people of all races. After discovering his passion for art while doing his O-Levels, he later on saw what had been a hobby become a passion when he came under the tutelage of artiste, philosopher and lawyer Marshall Baron while he did his A-Levels. 

He then went to work at Mzilikazi Arts and Craft Centre where a woman he only remembers as Mama Mguni taught him pottery. There he met some of the city’s most illustrious artistes like Dominic Nkosi, Charles Msimanga, and Mathew Zulu who counted as a good friend of his.

“I actually grew up in Mzilikazi around the age of 20, 21 years old. It was after nine months while I got my call up papers to serve in the Rhodesian Army. I was like someone who was bereaved. I was so disappointed and went the legal route and try to get exemption. But that all failed and I was almost arrested for not complying but my parents encouraged me to go,” he said.

Working as a medic during the country’s war of liberation, Jogee saw firsthand the horrors of armed conflict. Some of the blood from the struggle bled into his canvass, with one painting, Politico showing how the young artiste refused to helplessly watch as the country ran red with blood. 

One incident on the battle front perhaps illustrates Jogee’s character perfectly. After a landmine had hit a truck of civilians, he found himself picking up the body parts, strewn in the bush like pieces of a gruesome puzzle, of those who had been killed. 

“I found one of the people in the car and he was shaking and couldn’t talk. I tranquilise him and ask him where the driver is and he says I don’t know. There’s a funny white man who’s looking for the body and I also and after walking 100 metres I find a piece of a knee, I find an elbow elsewhere and in the bush I find a torso, no head. I pick up all the pieces and I’m not even wearing gloves. Then this man comes and says Doc can you ascertain how this man died and I said food poisoning, sir,” he said. Bus quiatis venducilis maxim ditate.

Bruce Ndlovu, Sunday Life Reporter 

NINE years after it became a must attend music extravaganza, few revellers that attend the popular Kalawa Homecoming gigs on 27 December of every year may remember that the event was not even called that when it was born. 

The year was 2010 and Oskido, so long the darling of dance music loving fans in Bulawayo, announced that he would be combining with city businessman and politician Gift Banda and Delta Beverages to bring the party of the year to the city in which he had spent his formative years.

Held on the 31 December instead of the now traditional 27 December, that event, the Woza 2011 gig, was to be Oskido’s way of giving back to Bulawayo, a city that had so often “claimed” him as his star continued to rise in South Africa.

“Oskido and I have decided to make this show an annual event as a way of giving back to the Bulawayo community and most importantly, fans who have given us support over the years,” Banda told the Sunday News Magazine at the time. 

With those words the deal was sealed. Bulawayo, a city that had looked on for years as Oskido barely mentioned his roots in the City of Kings, had always behaved like a child waited with abated breath for acknowledgement from its long absent father. Now it was about to have its moment. 

Kalawa would bring the artistes and Delta Beverages through its Bohlingers brand, would handle the technical aspects of the gig. A year later Oskido and the beverage giant would part ways, with insiders saying that Delta wanted the gigs to continue being held on New Year’s Eve while Oskido insisted on 27 December.      

While a Homecoming gig was held at the then Horizon Pub and Grill in 2011, the Kalawa Homecoming gigs would take off proper the next year at Queens Sports Club, with Oskido now going it alone. From that year, the event would be moulded in his image. 

So many of South Africa’s top acts graced Bulawayo for the first time at the Homecoming gig and people flocked in their thousands to see them. But it was more than just about the artistes. It was about Oskido and the sentimental value that his name holds in Bulawayo. The Bohlingers gigs held on 31 December were spectacular failures with Oskido’s name missing from the advertising banners. 

While they continued to bring South African acts, people did not seem as willing to spend the last night of the year in the wide open, with the prospects of the skies opening up above them as they usually do at that time of the year. 

Meanwhile, the Kalawa Homecoming got stronger and stronger, reaching its climax in 2016 when Oskido brought the feuding rappers AKA and Cassper Nyovest to the same stage.

The continued growth of the Homecoming has not been by accident. Since the concept was born, Oskido has been leveraging on the love the people of Bulawayo have for him and their yearning for his acknowledgment. 

The son that had always been craving a nod from his absent father now gets a visit every year. The catch is that he has to dig into his own usually half empty pockets to pay for that visit.  Over the last two editions, the Homecoming has been in clear decline, with the line-ups invited failing to inspire those that had got used to a diet of A-list stars at the gig. 

Even with that the anticipation and for the gigs has not diminished. By November of every year, everyone wants to know which of the year’s hottest stars have made it on the Kalawa Homecoming line-up. However, that might have all changed last week when it was announced that Oskido and his label had rejected a ROIL Bulawayo Arts Awards nomination as he vehemently maintained that he is South African.

While many will see his latest rejection as a sign of Oskido’s arrogance or identity crisis, Zimbabweans should also take a cold hard look at themselves and what they deem to be success in the world of entertainment. 

When American-based singer Tinashe disputed her Zimbabwean roots last month, there was a similar outcry from her countrymen, who felt that they had been robbed of a jewel they had long coveted and celebrated. This was despite the fact that the jewel was doing the robbing herself.  

Now it is Oskido’s turn. For those who have watched his career closely, however, the Kalawa supremo’s rejection should not come as a surprise. Many in South Africa are not aware of Oskido’s Zimbabwean roots and some regularly dispute that he indeed is from north of the Limpopo. This is because Oskido, the son of a former Zimbabwean parliamentarian, and known by many as a Luveve boy, barely ever mentions his upbringing. It is assumed that he is South African and he is happy to keep it that way. The only time he seemed ready to shed his South African skin was when he came to Bulawayo at the tail end of December to collect his annual paycheck at the Homecoming gig.    

Zimbabweans have for years ignored his silent rejection because he has never said it out aloud. The time was always going to come when the question, whispered secretly for years, would be asked publicly. Now it has and without a doubt, the answer stung and it has rightfully led to a lot of soul searching.        

As Tinashe and Oskido have shown, it is perhaps time to acknowledge that not all those whose blood is Zimbabwean are still connected to the dust and rocks of their country of origin. For some, Zimbabwe is just a country where their umbilical cords are buried and where their relatives live. And Oskido’s team reportedly said he was in fact born in South Africa and just spent part of his childhood here in Zimbabwe.

The hunger for foreign approval and success, especially in Bulawayo where only those who can be said to have “made it” attain their success out the country’s second largest city, has led some to celebrate stars that would probably freeze in their step at the mere mention of their country of birth. 

With revellers this year having already shown that they are willing to part with much sought after foreign currency to watch foreign acts in action, the Kalawa Homecoming looks set to make a comeback again this year. 

When it does, no one should blame anyone who asks whose home exactly Oskido will be coming to. 

Rumbidzai Mhlanga, Sunday Life Reporter

LIKE most metropolitan cities, Bulawayo prides itself with being a place with a vibrant night life.

A simple walk around the city at night will tell one that this is a city that comes alive after dusk. 

However, in the abundance of nightspots, one can sometimes feel that a lot of the places are the same. The musical tastes of the DJs seem to be similar and sometimes even the décor at the clubs can look the same to the discerning eye. 

It is in this scenario that Club Hashtag enters the scene. The new joint claims to be the club which caters for a new clientele. The club manager, Alan Khumalo, said the club which opened recently was different from other leisure spots the reason being the different services that the club offer and the crowd it attracts. 

“We are doing what is called heavy screening because we don’t want the young and rowdy crowd in the club, hence we attract a different crowd. We want mature and civilised people,” said Khumalo.

The club manager went on to explain how they have been able to attract crowd they want. 

“We have a data base where we are able to connect and communicate with our customers and give them updates on the running of the club, thus in that way we get a feedback from them where they make suggestions so at the end of the day we give them what they want. I am not saying we meet everyone’s demands but we try. We do have the young crowd coming in but they feel it is not a place to be because of the different kind of music and a different vibe altogether,” he said.

Tafadzwa Gwetai

ART and history have always been intertwined. Literature has been written, movies/ films have been made and historical facts prove that art has been a hidden but crucial contributor to countries cultural fibre. Novels and movies/ film, both fiction and fact have been created to highlight the importance of art to their counties. 

Elaborate robberies have been staged with the aim to ‘‘liberate’’ art from its captors. “Liberate” as if to free someone or people from imprisonment or form of slavery. Art is given a living quality. A quality that makes one curious about why these efforts to “liberate” art and why and the how art has been in the background ethnic humanist ideals. Art as a symbol of values, thoughts and beliefs.

The desire to want to acquire an art piece has more than monetary and aesthetic value. Creations by masters from the past have a heritage and much deeper connection to the contemporary man. 

The artist can be described as being a documenter and social reflector of community, its thoughts and states of mind. The level and depth of passion we are presented with through novels and movies about a passionate attempt at acquiring a painting or sculptural work of art back to its country of origin should inspire Africans.

We are who we are and that is a “lost” generation as most of our identity was destabilised by the greedy acquisition of African artefacts throughout Africa. This was a strategic colonial agenda by the west to use art creations as a form of disorienting the Africans state of mind.

African art was looted and taken from home like our forefathers and displaced to distant lands where they find no purpose. Africa’s most prized treasures are in storage across Europe such as France, Germany, United Kingdom and Italy. The artefacts possess great meaning and power to the African community and have very strong ties to their story of origin. The arrival of the Europeans in the fifteenth century had a profound and significant effect on the African’s life and African art.

Every community has a number of “spirits” that are believed to have control over natural phenomena and people’s way of thoughts and beliefs. These were represented through symbols in the form of sculptures and paintings. 

The colonialists domineering approach extended to wanting to dominate African art. The Europeans used a psychological approach to convince the African that their creations were pagan. 

Art in Africa was colonised to suit the colonialist and this posed a problem for the accurate study of African art. African art no longer possessed its true essence of the of the original meaning due to colonial and the artistic hegemony of the Europeans.

As a result African art was not given the status of respect among other art works due to the Europeans’ failure to accurately translate and fully comprehend the true absolute meaning of African artistic creations.

Repatriation is the return of art or cultural heritage, usually referring to ancient or looted art, to their country of origin or former owners (or their heirs). The disputed cultural property items are physical artefacts of a group or society that were taken from another group usually in an act of looting, whether in the context of imperialism, colonialism or war. 

The contested objects range widely from sculptures and paintings to monuments and human remains. Our heritage is locked up behind glass enclosures far from home. Our past and true stories of our ancient people are in museum shelves beyond our reach. 

Modern day agreements suggest that the artefacts that were uprooted from Africa and transplanted in Europe need to be returned so as to finally close the chapter of the colonial agenda. 

The legitimacy upon which the creations were acquired is questionable. Africa is literally begging for the return of her artefacts and restore cultural imbalances. The argument from the west is that we ‘‘will’’ fail to maintain our own artefacts due to inadequate facilities, corruption and lack of curatorial skill.

Europe holds the world’s most prised ancient artefacts as the creations possess a potent power that links a people with their authentic past. Artefacts from indigenous people such as the Aborigine from Australia, Asia, south America, India, Arabia and modern day Mexico are all kept in museums, distanced from their people. 

The value of art goes beyond simple economic value. Art can be educational, life-enhancing and help to define our personal and national identities. The absence of historical art creates an emptiness in the history and heritage of many African countries, and we believe impacts personal motivation, creativity and innovation. African art has come a long way and is finally being created, studied and documented for us and by us. 

Zimbabwe should be proud as our local artists are now more visible and their voice and stories are being told without reservation. However our art and artists are still being slowly lured and collected by the West. 

As a protest I would like to see our African creations relate and be collected by Africans so as to find pride our own being. If we cannot retrieve our stolen artefacts we would rather hold on to what we have and accurately document our creations with Africa in mind. 

We are privileged to be living in an era where Africa has strong emergence of African curators, African art collectors and international standard art galleries and museums. 

However, the repatriation of African artefacts to Africa would enable accurate study and an understanding that has depth and relevance to the indigenous community. 

Europe generates millions of Euros primarily from tourism generated from visitations to their museums to view our heritage locked behind glass cabinets and speechless. Their voices cannot be heard and the songs that used to be sung in their praise can no longer be sung. Liberate African art.   

Remember, ‘‘Legalise Art’’,  promote, permit, admit, validate, legitimise, decriminalise, authorise, permit. 

Feedback: mailto:houseofmenka@Facebook.com/houseofmenka@gmail.com

POPE Francis has changed the Lord’s Prayer after criticising the English translation for implying that God — not Satan — leads people into temptation.

Francis approved an alteration the line ‘‘lead us not into temptation’’ which now reads ‘‘do not let us fall into temptation’’, which is closer to the French translation.

Speaking about the change back in 2017, Francis said: ‘‘It’s Satan who leads us into temptation, that’s his department.’’ 

The pontiff continued: ‘‘I am the one who falls. It’s not Him pushing me into temptation to then see how I have fallen. 

A father doesn’t do that, a father helps you to get up immediately.’’ 

The change comes after 16 years of research by Biblical scholars, and corrects what they believe was an error when the prayer was translated. It is thought that Jesus originally spoke the prayer in Aramaic, before it was translated into Greek and other languages.

The English version of the prayer is derived from the Greek translation. The Greek word in question, eisenenkes, is found in the original New Testament in Matthew 6:13.

Francis also approved changes to The Gloria from ‘‘Peace on earth to people of good will’’ to ‘‘Peace on Earth to people beloved by God.’’ During the General Assembly of the Episcopal Conference of Italy, President Cardinal Gualtiero Bassetti announced the approval of a third edition of the Messale Romano in May, ‘‘in the wake of the liturgical reform.’’

The Bible has been edited many times over the years as errors were discovered with translating the ancient work. Perhaps the most infamous version, Robert Barker’s King James Bible, published in 1611, omitted a key word from the Seventh Commandment. 

In that edition the commandment read ‘‘thou shalt commit adultery’’. The correct version is, of course, ‘‘thou shalt not commit adultery’’. —DailyMail.co.uk

The Mazda 5 has come to be one of those well sought after vehicles. Since we tend to afford only used cars from Japan, we will have the Mazda 5 only as the Premacy. It’s a different name but basically a Mazda 5. 

The older Premacy wasn’t all that, I wouldn’t say it was that much of a beauty. It was just stuck somewhere in between ugly and just okay. It had no appeal and none of that “buy me please” character . . . but the predecessor is a bit bold, it’s bulkier and has moved with the times, has had some hip injections here and there. While the cosmetics have very much improved so has the heart and other bits inside.

This is the model from 2006 to 2010. It’s quite old but then it’s one of the cars to likely take over in Zim, you know how we have those phases where everyone imports a certain type of car then when they realise it’s not all that they go on to the next. Besides that, a 2010 car is relatively new for us Zimbos anyway, I mean we still buying cars from 1999!

Mazdas are unmistakable, they all have similar design especially on the front end. At first glance, the Premacy is clearly a Mazda. 

It has the same resemblance of the Rx8, the Mx6 and even the Cx7. The panels are flowy and from sideways to the back you can easily notice the wavy design. It didn’t lose its original Premacy shape, it just got a little bigger, you could almost mistake it for a Mazda MPV.

The Mazda Premacy is the same as the Mazda 5 you would find in the UK or South Africa. It comes with automatic sliding rear doors, something I’ve found very unnecessary. 

To me it’s like unnecessary technology because when you bring that car to Africa, that uncle of yours from Uzumba Marambapfungwe will hop in the back and force open or close that door not knowing that’s it’s all automatic so for Africa we still need manual sliding doors, you know the type you find on umtshova! 

The Mazda Premacy seats 7 people, 5 average size adults and 2 smaller people because the last row of seats is quite small and a bit cramped up. That’s always the case with most of these small mini-vans. You can’t really complain much for the fuel economy and the space. Ideally they are a made for small families with a mind to save fuel as much as saving the planet. There are other models however, which are quite heavy on fuel. 

When it comes to the drive-train, the Premacy is just like an oversize Mazda Axela or Atenza because they share the same engines. It’s a 1,8l, 2,0l or 2,3l found in the Axela or Atenza Sport. They are all 4-cylinder dual overhead camshaft engines. Most of them come with automatic transmissions except if you get a Mazda 5 model from the UK or South Africa, in which case you may also get a diesel-powered variant. The Manual transmissions and diesel-powered models are rare in Japan. Japan never liked diesels for some odd reason.

So the engine is transversely set up and it drives the front wheels, like I said earlier, this car is like an oversize Mazda Atenza. You do get good power figures especially with the 2,3l. 

These engines have never been known to be economical though, they drink like a whale. If you are going to cry about fuel a lot then you’d need to stick to the 1,8l even though it won’t give more smiles than the 2,2l .

These cars will not be much of a hassle on maintenance because they share engines with very common cars around here. You will find that even some of the drive train components will be similar to the Atenza. Mazda is however, notorious when it comes to spares, they can have same model car with different spares, not too sure why that is so.

However, Mazdas are not very complicated cars, they are easy to maintain and they are quite nice to look at, well, most of them. 

One thing about Mazda is that all above all, they make comfortable cars, they may not be the most durable cars around but they don’t compromise on comfort. Mazdas tend to whine a lot like new-born babies. What makes them better is they are easier to fix so you won’t go very wrong getting a Mazda Premacy as long as you will maintain it well and service it when you are supposed to. Sometimes that’s all the trickery there is to keeping a car for a long time. 

@lovert116 – Automart Used Spares Centre – Quality Used Japanese Spares -+263772339938 — automartzw@gmail.com  – Facebook: @automartusc

Hi Sis Noe

I STOPPED taking pills a month ago but I am yet to get my period back. What is wrong with me?

Reply

Going off the pill, or any hormonal contraceptive, is a big switch for your body. Among other changes, it may take several weeks for your period to find its own rhythm and become a regular visitor again. Depending upon the woman, the type of pill, and the length of time you have been taking it, it may take anywhere from several weeks to several months before hormone levels regulate and allow regular menstruation to resume. In addition, if your periods were irregular before taking the pill, your periods may continue to be irregular after stopping the pill. Generally, your period should start four to six weeks after taking your last birth control pill. If you have not begun menstruating after three months, you may have a condition called post-pill amenorrhoea. Birth control pills stop your body from producing hormones that trigger ovulation (egg release) and menstruation. When you go off the pill, it can take a while for your body to re-adjust to its natural hormone production schedule. Eventually though, your regular menstrual cycle will return. Most women will ovulate about two weeks after going off the pill. Older women, especially women who have been on the pill for a long time, may begin ovulating again more slowly. Although unusual, it is possible for a woman to get pregnant before starting to menstruate again. If you have had unprotected sex since you stopped taking the pill, or if you are worried that there is a chance you could be pregnant, then you may want to take a pregnancy test. If after several months, you are still not getting periods or if you have concerns about being pregnant, you may want to schedule a check-up with a health care provider. All that being said, chances are everything is okay and your body is simply readjusting to life off the pill.  

Hi Sis Noe

I met this guy I like about a month ago and I think that he really likes me. He has a very busy schedule with work and sports, but when he says he will call me, he usually doesn’t. If he really likes me, why won’t he call when he says he will? Also, how can I tell if he likes me for me and not just my looks?

Reply

It’s easy to over-think things and jump to conclusions, especially when you like someone. But before you write him off or get downhearted, remember that there could be a number of reasons why he has not called you. It sounds like he could just be really busy. Have you tried calling him instead? Maybe he is shy and can’t work up the nerve to call you. Maybe he lost your number; there are many possible scenarios that would explain his behaviour. Of course, there is also the chance that he is just not interested. If he doesn’t call and you still don’t know why then perhaps it’s time for you to move on. If you are not getting what you want out of a relationship it’s probably best to look elsewhere. As the saying goes, if you miss one bus you can always catch another one. Have you been too focused on this one guy? Is there something about him in particular that you are attracted to, or is it the idea of having a boyfriend? As for your second question, it can be hard to tell at first if someone is attracted to you for your looks or for who you are — or both. This is something that becomes apparent as you spend more time with a person. If the attraction is purely physical, the relationship may eventually fizzle, rather than sizzle, as you realise that you don’t have much in common. With this guy, or any potential partner, pay attention to your instincts. Do you feel happy spending time with this person? Can you talk to him easily? Do you spend time together doing things other than being physical? Although it can be difficult to tell at first what someone is interested in, after a while you might be able to get a better sense of his motives. Then you can decide if the relationship is working for you. In this situation and in the future, consider this: if you are into someone and you are just waiting for the phone to ring, maybe it’s time for you to take the initiative and call him. Sometimes you have to take a risk to get the reward. 

 Hi Sis Noe

My problem is that I ejaculate early, at times after 30 seconds. I want to enjoy having sex for long and to pleasure my partner. Help. 

Reply

It seems that you are describing two issues: one is lasting longer before you orgasm and the other is helping your partner orgasm. First, orgasm is a learned response. People learn what kind of stimulations and touching effectively brings them to orgasm. Think about what stimulates your rapid-response pattern and consider trying other types of touch and stimulation (slower, softer, faster, etc.); variation can introduce new pleasures, and may help turn-off an autopilot orgasm response. Some men may have learned to reach orgasm rapidly because they had no privacy when they were young and needed to finish masturbating quickly, before someone walked in. Yet, many men also consider it desirable to extend their pleasure and the pleasure of their partner. If you want to learn to last longer, your challenge is to increase the amount of time you spend in arousal. You might try the Stop-Start- method. For example, when you feel you are approaching the point of no return, stop what you are doing with and to your partner, and just do nothing, or hold each other, until the urge to ejaculate subsides. Then start again and stop again when you feel you are approaching orgasm. It may take a few tries to identify the point of no return, and to stop before then, but you do have the rest of your life to practice and get it right. You might try telling your partner when you need her to slow down or stop her movements for the moment, try having sex with her on top, and relaxing for a couple of seconds. The second issue that you raise is the pressure you feel to help your partner orgasm. It might help to increase communication with your partner about both of your experiences during intercourse. Have you spoken with her about what you want? Have you asked her about what she wants? You can’t read your partner’s mind (nor can she read yours) and you might find that her answers surprise you. By sharing and exploring your desires you can enhance both of your sexual experiences. One way to start the conversation may be to buy a book and read about new positions, techniques, and methods together. Lasting longer can take patience and practice. Hopefully, these suggestions will help you and your partner reach new heights.

Hi Sis Noe

I have been separated from my husband for two years. My parents don’t like him and they want to change the name and surname of our child. My child doesn’t have a birth certificate. I am so worried.

Reply

As much as you should respect your parents I think they have lost the plot on this one. The child belongs to you and your husband — your parents have no say in this matter. Being the ones that are taking care of you and your child does not give them the right to change the name and surname of your child. It’s not only morally wrong, it’s illegal. Do not change the name and surname of the child at your parents’ behest. Being estranged from your husband is not an excuse for you to mess with his child. Your parents can dislike your husband but they should not involve themselves in your business. I am tempted to think your parents are the reason you are separated from your husband. If they are then they are a bad influence to you. You should not destroy your marriage and life for them. You choose who to love, they cannot choose for you and you should not allow them to. I advise you to talk to your husband, work things out and go back and live with him.

Nhlalwenhle Ncube

WHEN you get married, it never crosses your mind that you are filling a certain vacancy in the family. You are even made to believe that you are now part of the family and will be treated like all other children. Surprisingly, you then realise that this family has always wished to have a maid and it’s as if you have filled that gap. 

Of course when you are a daughter-in-law or wife, you have duties to do. But it’s hurting and frustrating when you get to do all house chores alone without getting any help. That is when one starts to ask herself whether she is a wife or a maid. Truth be told, this has broken many homes as no woman wants to be made to fill that vacancy. Marriage is not a job! 

I know in our African culture, a bride or makoti is expected to do all the house chores for the family to prove herself that she is a “real” woman. Really? In this century that is abuse and it shows that the family is not a loving and caring one. Every job is made easy by being shared. 

Thanks to God, these days most women are not staying with their in-laws and they only get to receive this bad treatment of being made to work like donkeys when there are family gatherings. Unfortunately for some, even in their own homes their husbands are the ones who treat them like maids. By so doing, they are making the woman unhappy and ever depressed. No woman wants to be treated like a maid! 

I know someone is saying, but what is the role of the wife in the family. Your answer is just as good as mine that she has to take care of the family. But this does not mean that the husbands leave all the housework to their wives while they sit on the couch and relax. They wait to be asked for help instead of  helping on their own.

The saddest part about this is that most husbands don’t know how much anger and resentment their wives feel towards them due to this issue. If asked, they would probably vehemently deny that they have ever treated their wives like maids and begin pointing how much they help with household chores. After a couple of heated conversations about household chores, most wives usually give up and resign themselves to doing most of the chores. However, the issue keeps simmering in the background until it boils over.

What married couples need to realise is that it takes time to come to an agreement regarding the division of household chores. One conversation isn’t going to be enough to iron out all your differences; it has to be an ongoing conversation. How you divide household chores between yourselves will also change multiple times over the course of your marriage. As your responsibilities within and outside of the home change, you will need to adjust the amount of household work each of you does accordingly.

Women have to be careful how they bring up the issue of household chores because with our African men it’s a sensitive issue. His response might even result in a heartbreak where you will be reminded of lobola he paid and that kadliswanga (he didn’t eat love potion). First of all, it goes without saying that you cannot let the word “maid” escape your lips. Telling your husband that he treats you like a maid or that he is inconsiderate or unfair will immediately make him defensive and cause more marital problems. It also goes without saying that you shouldn’t broach the issue when you are angry. It’s best to begin by telling him how much you appreciate what he does within and outside the home. Tell him how his contributions have made a difference in the day-to-day functioning of your home and to your married life.

After complementing him, point out two or three more chores that you need help with. Be assertive but not aggressive. If your husband is resistant, you might need to bring out a list of all the tasks that need to be done so that he can have a clear idea of just how much work there is. If he doesn’t like the chores you suggested, ask him to pick two or three more chores to add to his list of chores. He’ll probably be more open to doing chores that he picked for himself.

Household chores are a hot topic in most marriages and a major source of conflict and marital problems. However, as long as a couple remains patient and keep working on finding on the right balance, they will eventually get to a point where they are more happy than sad with the way the chores are split.

Some women are taking their complaints to social media platforms and I guess most of those making noise have already quit the marriage institution where they felt betrayed after being turned into maids. This is a big problem as it also kills a couple’s sex life. When someone is bitter over something in a relationship, there will be unending problems and you will fight even over the smallest issues. 

Without being one sided, these days there are also families where you find that the woman is the breadwinner — the one employed while the husband is not. Some of these women have also turned their husbands into ‘‘maids’’ which is a bad thing. They no longer help with chores even when they are off-duty. It is wrong and a recipe for disaster. Being disrespected and treated as if you are useless in a relationship has forced many people to walk out of relationships. So be careful how you treat your partner and never turn her into a maid. 

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Amanda Ncube

TRANSITIONING from one season to the other is not easy especially when it comes to home décor . . . a lot of things need to change. 

Winter season means spending more time indoors than outdoors. In order for you to survive spending even more time at home your space needs to feel homey and inviting.

Here are some tips to help you make your home feel homey and inviting this winter. 

There is nothing that screams winter is here than faux fur. If you want to create instant warmth, both visually and physically, adding some faux fur throws and pillows is definitely the way to go. When correctly done, faux fur can change the look of your home, making it look more sophisticated and beautiful.

Make sure you do not over use it. Faux fur usually looks good on the bed, couch or even chairs. Accent all white décor with vibrant blue pillows. By so doing you will be enhancing the winter vibe in your home.

Also, do-it-yourself pillows can work during winter season. They add a cosy winter touch to your décor. There is no need to dig deeper into your pockets, make the most of those old sweaters you have not been able to part with instead of throwing them away.

Naked door makes guest feel unwelcomed, instead of letting your bare entrance get you down dress it up with colourful flowers (wreaths). Create a chic modern look for your home in order to make your home feel inviting.

New season, new shades. If you are really looking to make a change consider giving your home a brand new colour scheme. Wallpaper, paint or even just a couple of fun throw pillows should do the trick. You do not need to go all out with bold colours, keep the winter palette neutral. It will add a calming vibe to your space.

Fill your winter tables with rich colours such as emerald or purple (wedding style) then accent it with other colours in order to bring a new look to your home.

The only way you are going to survive winter is by having a well-stocked bar. Deck yours out with gold trimmed glasses, a gold wreath and greenery.

Rugs and carpets are always best for winter season. They are multi-functional, to keep warm and for decorative purposes. 

Vincent Gono, Features Editor

WHEN Diane Deadol was growing up in the coal mining town of Hwange, she would often get beatings and reprimands from her grandmother for cutting house curtains leaving them hanging short on the windows to design dresses and costumes for her dolls.

At school she was to be conscripted into the school drama but still her fashion sense refused to grow out of her. She would end up selecting costumes that goes with the script and it became a stubborn culture that was not to be weaned off easily. 

As she grew to become a woman, she was no longer cutting short her grandmother’s curtains and any other cloths in the house but nurtured her designing talents that started to manifest in an unusual childhood delinquency manner.  

And from her naughty costume designing past she has a success story to tell. She recently got a slot to showcase her designs — Didi Couture (from Diane Deadol) at the just ended Soweto Fashion Week where she met the who is who of fashion and design in South Africa, a dream she said she was afraid of losing to the winds of time and fate. 

She has grown past making dresses for dolls using curtains. Her lines cater for the contemporary woman from classic elegance costumes, weddings, special occasions, evening wear and ready to wear lines.

“I grew up in the coal mining town of Hwange in Zimbabwe. I used to love story telling drama at school but for some reason I always ended up doing the selection of costumes and dresses, I used to enjoy it a lot,” she said.

On how it all started she said, “When I was growing up I had a small company where I used to make and sell fabric dolls, it was challenging as I had no fabric and materials, I would cut up anything I laid my hands on including my grandmother’s curtains and pieces of clothing, and I used to get into trouble when she discovered her half curtains hanging on the windows. 

“I have been making dresses on the sidelines for years but now I believe I’m ready to do it full time and make amazing and fabulous garments.” 

She said she never went to school to learn fashion and designing but it has always been her passion that couldn’t be suppressed by her studying a few different fields such as engineering.

“I loved making stuff from a young age,” she added. 

Deadol said it was not easy to break into the industry and the Soweto Fashion Week provided her the springboard from where she would dive into the deep ends of the dynamic industry. 

“It’s quite difficult to penetrate the industry locally and abroad. But I believe that once you put your mind to something you love, you can achieve it. So I’m super excited to embark on this. It’s a long time dream I have had to make fabulous clothes and be a designer of note. 

“I had very positive and amazing feedback from the audience and fellow designers. My garments were classy and absolutely stunning. Getting positive reviews felt special as I felt I was doing well. I have a lot of people requesting I make them dresses which is amazing,” said Deadol.

She has an ambition to dress the catwalks of Milan, Paris and New York as well as dressing the First Lady of Zimbabwe.

“Being my first time to showcase, I learnt a lot from compiling my collection, (fabrics, sketching and making the garments for the runway), to dealing with models fittings and coaching the walks. It was my first showcase. It has given me the exposure for growth and to make my brand bigger locally and abroad.”

Soweto Fashion Show producer and creative director Ngugi Vere said the show was created to promote and give a platform and exposure to upcoming designers in the townships.

He said Didi had never had the chance to audition and showcase but when she did her garments were amazing and everyone was saying it was something beautiful. He said Didi was really talented and gifted at the art. 

Bruce Ndlovu, Sunday Life Reporter 

WITH the Roil Bulawayo Arts Awards only a month away, Raisedon Baya is a worried man. 

Like most Zimbabweans, Baya checks the foreign currency exchange rates like some check the weather in the morning. Things have changed a lot since he announced last month that the award show’s sponsors, Roil, had more than doubled the RTGS$20 000 sponsorship they gave the ceremony last year. 

Since that momentous announcement at the Bulawayo Theatre, the madness on the black market has continued with prices also going up. This is perhaps why when Sunday Life meets him at Studio Nosh, a small café located in a pocket of the National Art Gallery, he is reluctant to order anything fancy. 

The menu is certainly tantalising. On offer is a full English breakfast, complete with toast, fried eggs, baked beans, sausage and tomato. Also on the menu is a platter of veggie spring rolls, beef samoosas, chicken kebabs and mozzarella tartlets.

The options are mouth watering but after comparing the US Dollar and RTGS prices, he settles for lemon juice. The message to the waitress is clear: Baya is a man working with a budget in mind. 

This fact is important for a man who is now coming to terms with the fact that the award ceremony’s $55 000 purse might not be enough to bring the glitz and glamour that they have served Bulawayo over the last few years. 

“That’s now our biggest nightmare,” he says. “Roil last year put up $20 000. This year they said we’re doubling that and they’ve put almost $55 000. Three months ago we were saying that even with $55 000 we would do the awards and they would be amazing but now that $55 000 is not enough.  

“Remember we chose the Trade Fair which is unlike the City Hall where you would just walk in and everything would be sorted. With the Trade Fair we need to do a lot more work and in addition we also need to sell the idea to people and convince them that we need to fill it up which won’t be easy because it takes maybe four times the amount of people the City Hall does.” 

Money issues are not the only problem that the BAAs have had to face this year. In its edition, the award ceremony now seems to be attracting as much criticism as it does praise. People who celebrated its birth three years ago are now a critical, pouring scorn on a toddler that emerged and became the city’s darling in what seemed like the blink of an eye. Baya has noticed this as well. 

“Perhaps the challenge this year has been the fact that maybe to some people, the Bulawayo Arts Awards are growing and growing too fast so they’ll do anything to throw spanners in the works. As for ourselves, we believe that if you do something and people are not talking about it then you’re not doing it right. 

“When you’ve an idea, you get so many people that are eager to tell you how to execute it. It’s like you’re walking on the right side of the street and then someone tells you to walk on the left. Unfortunately most of these experts have never done anything,” he says. 

Tired of know-it-alls’ advise and misgivings, Baya points out that while some might see them as bumbling organisers that stumbled on a fantastic idea, many do not realise that this idea was a long time coming. Years before the bright lights and shiny gongs, Baya and his comrades in the arts toiled in the shadows and came up with the idea of the BAAs. 

“We didn’t stumble on this. We really put a lot of thought behind this. It’s an idea that has been brewing for eight years. We thought of and discarded a lot of ideas. For the past three years it’s been trial and error. But some people think we don’t know what we’re doing,” he says. 

Recently, Baya woke up to the news that Oskido had renounced his Zimbabwean roots. The BAAs, it seemed, had forced his hand, leaving him no choice but to clarify an issue that had been hanging over his head for years. While the issue touched many Zimbabweans, for organisers of the BAAs it was a more direct blow. 

Baya does not touch his drink as he talks animatedly about the issue, only nibbling at the sliced cucumbers he fishes from the depths of his lemon juice. 

“For us, to be honest, we responded to it but maybe we shouldn’t have responded. The reason being that we sent out the nomination and he didn’t officially write to us as the BAAs and say I don’t want it. We just read it in the papers like everyone else. 

“There was too much talk and at the end of the day we felt that if he doesn’t want to be Zimbabwean you can’t it on him. It’s like throwing a birthday party for someone that doesn’t want one. Officially to us he has never responded so if he were to come on the day and say I’m part of the nominees there would be no way for us to stop him from participating,” he said. 

Critics of the awards had also pointed to the nomination of Winky D and Jah Prayzah as evidence that the award show was now losing the plot. Baya dismisses such viewpoints with contempt.  

“We’re not looking at Bulawayo as a confined space. In three or four years we would like to see someone from Mutare or Uzumba saying I’m looking for bus fare, I want to attend the BAAs. We don’t want it to look like we’re shutting out people that are not from Bulawayo. 

“We’re giving away 50 awards on the night and out of that number 49 will be given to Bulawayo artistes. I don’t know why people would think one award would then dilute the intention of the ceremony. If one person comes and dilutes the whole ceremony with their presence then I think there would be something wrong about the structure of the whole award ceremony,” he said.

Three weeks before the awards ceremony, Baya and his team are understandably anxious about the awards ceremony. Will they surpass the first two editions? Will they fill the 4 500 sitter Zimbabwe International Exhibition Centre Hall 4? Will the money that they have be enough? With local support Baya believes all those questions have positive answers.

“The BAAs are a business idea. That’s one important thing that we as organisers don’t want to lose sight of. As a business that wants to operate and grow in Bulawayo, we need the community to support us,” he says.

Bruce Ndlovu, Sunday Life Reporter 

ALMOST half-a-year has passed since the death of Afro Jazz titan Oliver Mtukudzi and, over the last few weeks at least, the hostilities within his family seem to have eased. 

If the music legend’s family is still at each other’s throats, it seems like they have taken the fight behind the scenes. During this ceasefire, Selmor Mtukudzi has continued to blossom, proving perhaps that the Tuku Musik Empire will be ably led by a queen and not a king. 

However, the end of the hostilities in the Mtukudzi household also offers music lovers around the country time to introspect. With the death of Mtukudzi, Zimbabwe lost its leading light internationally, a beacon that had blazed a trail around the continent and in the process placed himself head and shoulders above his compatriots. 

Having conquered his country, he went on to charm the rest of Africa, subduing millions with the hypnotising power of sweet melody and ingenious music composition. 

While the likes of Bhundu Boys, Thomas Mapfumo and even Leonard Dembo won hearts around the continent and beyond, few artistes after Tuku have built a notable profile beyond the country’s borders. 

Cracking the continent is a tough task and few have proved up to it. For one, many of the country’s brightest young musical talents lack that Zimbabwean authenticity, that ingredient that has proved elusive to a generation that has grown up on staple of foreign music. It is an ingredient that Tuku had in abundance and one that the country’s hip-hop and dancehall stars, who already have to compete with international stars in those genres, seem to lack. 

However, it is not all gloom. There exists in the country’s music scene a tribe of musicians that seem to share Tuku’s DNA. One thing that connects them is their love for acoustic guitar, an instrument that runs like a thread throughout all their music. 

It is in this brotherhood that Zimbabwe might find a star to once again shine for the continent and the globe at large. 

Victor Kunonga

Victor Kunonga has drunk from the same gourd as the gods. In the years leading up to their deaths a year apart from each other, both Oliver Mtukudzi and Hugh Masekela seemed to trust Kunonga with the one thing probably dearest to them: their music. How an artiste, a few decades younger than the two African music giants, convinced the two to make them the producer of their joint album is a mystery. 

Tuku’s guitar is now silent and Masekela’s trumpet no longer wails, so the chances of anyone ever hearing the melodious fruit of those recording sessions in Harare are slim. However, music lovers can console themselves with the fact that Kunonga, the man that Hugh Masekela said had the potential to be a superstar, is alive. 

Kunonga has long been acknowledged as a force on the country’s Afro Jazz scene, with his hit Maidarirei proving that he is indeed a master song craftsman and a weaver of socially relevant tales. 

It remains to be seen whether the time spent with the two legends will push him towards much deserved international stardom.

Munyaradzi Nyamarebvu

Watching Munyaradzi Nyamarebvu in action is like viewing a hologram of a young Tuku. When he took to the stage at the 2015 edition of the Intwasa Arts Festival, many were astounded at the sight of the young man in front of them. Nyamarebvu, hand-picked and trained at Tuku’s Pakare Paye stable, has adopted many of his mentor’s mannerisms on stage. The way he holds the guitar, sudden tilt of the head: It all screams Oliver Mtukudzi! However, despite a strong voice and magical fingers on the acoustic guitar, Nyamarebvu is still a stranger to the average music lover. Music lovers will hope that with the exit of the man he owes so much to, Nyamarebvu will finally emerge as a force. 

Willis Wataffi 

Wataffi has had an interesting musical journey. While a lesser artiste might have faded after the death of Afrika Revenge, a group that proved that even young musicians could make music grounded on the country’s rich musical  culture, Wataffi has preserved and forged ahead with his career. 

Wataffi is back in full force, with critics eating out of the palm of his hand after the recent release of his album, Uhuru / Independence, many will be expecting him to go on and do bigger things. 

For his part, the man who found his voice in the superstar making factory called Amakhosi Cultural Centre wants to walk a path not trodden by Tuku’s giant footsteps. 

“I believe Dr Tuku walked in his own path and was allowed to leave his own legacy. I too am walking in my own and I don’t believe there’s a living soul that can replace the late great legend Tuku,” he told Sunday Life.                     

Mbeu

Another product of Pakare Paye, Mbeu has already tasted the bitter-sweet result of even attempting to walking in Tuku’s shoes. After being given the honour of leading the Black Spirits during this year’s Cape Town Jazz Festival, he was immediately sucked into the Mtukudzi family cold war, as some questioned why he had agreed to lead the band. 

For some music lovers, the sight of Mbeu wielding Tuku’s trademark guitar with steel rings felt fitting, although the young artiste would have preferred his nylon stringed instrument instead. After that performance he was on the defensive, as he faced an onslaught from those that felt that the guitar did not belong in his young hands. As his career kicks up a gear, his fans hope that one day everyone will be proud to see him wielding that acoustic guitar again in future. 

Charles Dube

LEARNERS can improve their writing skills by mastering all the aspects of grammar. We started by examining words which are commonly confused. There are many of them and cannot be exhausted in one article. Learners also show weaknesses on vocabulary. They struggle when asked to explain words as used in the context. All these problems could be alleviated through constant practice.

Before dwelling more on the stated topics I would like to share with learners one method of developing writing skills. Learners were given a task to describe qualities of a good head girl of the school under the following headings: personal character, exemplary behaviour and punctuality. As always learners struggled to get as many words because their vocabulary is restricted. To give a few examples, under the first task such words could have worked:

A good candidate should be of high integrity, that is to say she should be truthful, honest and reliable for she works closely with the administration. The administration will be happy to work with somebody who is trustworthy. Top of the list the head girl should be firm and fair. In other words the head girl should not compromise when it comes to adherence to school rules. Rules should be enforced without fear or favour. All offenders should be punished equally. Selected punishment of offenders does not augur well for somebody who is a head girl or aspires to be one.

A head girl should set exemplary behaviour to other learners. For example, she should always be smartly dressed so that others emulate her. There are small issues taken for granted by many people. For example, many learners do not greet elderly people or their own teachers they meet every day around the school. But respectful learners or those in positions of responsibility will lead the way and make sure they greet their teachers and assist those in need, including visitors who call at their school.

Responsible leaders like the head girl make it their duty to conscientise others. They are punctual at school and even in class. If they do this, it is passed on to other learners who try and match the standards set. Being part of the administration does not mean that the head girl assumes overall authority over other learners and becomes a surrogate teacher. No, she remains a learner and only helps to maintain order in the school.

She leads by example as stated before, for example, where volunteers are required she should lead from the front. In terms of homework she should pass her work early than waiting to be reminded to bring her work forward. A good head girl should take the initiative in doing various assignments. A good leader does not need to be told to perform certain tasks which are obvious. These are some of the qualities which a head girl should possess. By the end of such an exercise learners I am quite sure had raised a lot of descriptive words they will use even in other essays.

Good communication skills demand proper use of all types of grammar. Learners nowadays ignore important forms of punctuation. For example, let us look at ending sentences. They should use punctuation to finish sentences correctly — otherwise they will be throwing marks away if they do not. Full stops end sentences. Full stops are used to end statements. If you are writing essays you will finish most of your sentences with a full stop.

Question marks show the end of a question. Question marks show that you are asking a question. Why did you come late to school? Some sentences tell you about a question but do not actually ask one. Themba asks Amkela why he hates him. This is not actually asking a question, so there is no question mark. It is a statement about what Themba does — it just needs a full stop. Commas are also taken for granted by users leading to confusion or mix up of sentences.

Without commas, lists would be a jumbled-up mess, and long sentences would not make much sense. Commas separate items in a list. A list that does not contain commas is really hard to understand. For example, check this sentence: She went to the market to buy tomatoes fruits bananas and potatoes. This sentence is not easy to follow but can be improved by adding a comma after each item to make the list clear.

Use commas to separate two adjectives next to each other which could be separated by “and”. It was a light blue dress. We could put “and” between light and blue, so we do not need a comma. Before we end today’s article let us show some more words which confuse learners and the general public. These are cancel, council, and counsel. Cancel is a verb which means to cross out; or to say something that had been arranged will no longer happen.

Council is a noun. It means a group of elected people who run a local area, a city or the organisation they work for. Counsel is a verb which means to give someone advice about their problems. Police officers came to school to counsel learners against drug abuse. Decent, descend, dissent. Decent is an adjective meaning good, or good enough; also of good and acceptable behaviour. Descend is a verb which means to go down from a higher place or position. Dissent is a noun meaning a strong disagreement.

He was paid a decent salary on retirement. She caught up with him when he descended from the mountain. One player was sent off for dissent during a tense soccer match.

For views link up with charlesdube14058@gmail.com  or sms to 0772113207.

Rumbidzai Mhlanga, Sunday Life Reporter

FOR quite a long time Bulawayo has been the power house for the modelling industry in the country but it looks like it has lost its lustre.

Unlike before where 90 percent of Miss Zimbabwe and Miss Tourism winners came from Bulawayo, it’s been long since the city had a winner. Samantha Tshuma, a former Miss Tourism winner and co-ordinator of Open Eye Studio modelling agency highlighted some of the problems models face.

“Nothing much has changed, but probably it’s because of the economy and affordability of things. It’s quite an expensive industry especially the pageantry because models are given a list of things they should buy for themselves for example outfits, do their nails and hair, hence it’s really challenging.

“We do have great models but even though they are good some of them cannot afford to look the part, that’s why people haven’t been hearing much about and from the modelling industry, the pageantry is different from the fashion industry where designer dresses, hairstylist and makeup artists are provided,” she continued.

She said  modelling agencies are still casting their nets wider in search of fresh talent to mould.

“There are programmes that groom and scout young talent and while scouting when I see great potential I groom for free although other classes for grooming and etiquette are paid for, I also do sponsorship for Miss Nust and Poly where I groom queens and sometimes princesses for free.

“My agency is just two years old hence I haven’t gone as far as grooming people from rural areas but I’m yet to tap in that market but so far I groom girls from high density areas where I meet girls at vocational centres and groom them about etiquette and modelling on weekends for free,” she added. 

@ruekushie

Raisedon Baya

THIS past month most people have gotten to know about Seagirl. The young musician has been in the papers and on social media pages as the girl Bulawayo fans keep booing on stage. This is not a good tag for a musician with the kind of talent and ambition Seagirl has. I personally think that something really big has gone wrong with our media. Here is a young talented girl. She has been in the arts for donkey years, surviving where many have given up and left for good. She has appeared in some remarkable theatre productions. She has won top prize in one of Zimbabwe’s premier talent search project, Starbrite, and has gone on to win several awards here in Bulawayo and nationally with StarFM awards. And yet we only get to write about her extensively because she has been booed on stage!

I think this speaks volumes about our media. Perhaps it has become more about selling newspapers or maybe competing with social media for attention. Social media has no ethics, and no bigger vision. Most people post stuff on Twitter, WhatsApp, Facebook and Instagram to get likes and retweets, nothing more. And nothing gets more likes and retweets than hate, trolls, and simply negative news. But this should be different with mainstream media. There is much we expect as the arts sector from mainstream media. The least being responsible journalism.

Here is a young woman. She has talent. Those who have taken time to listen to her songs and seen her perform will testify to that. The several awards she has won also testify to that. Anyone in the arts worth their salt will know that the boos and jeers she is getting has nothing to do with her talent. It is more to do with the shows she has been billed to perform. Twice she has been billed to perform either before Winky D or Jah Prayzah and that alone tells you there is something wrong, not with her, but with programming of the events. It is obvious that 98 percent of the people who were in those shows were not there for Seagirl. Most of them had never heard her songs or her name. Most were drunk and impatient. They were there to sing along and dance to Winky D and Jah Prayzah. This is the kind of audience that will see an up-and-coming artiste as more of a disturbance or a delay to their programme or entertainment. There booing and jeers had nothing to do with the quality of Seagirl’s music or stage performance. The audience was simply saying they were not there for her.

I personally see her booing and jeering the same way I see people’s reactions to adverts on television when they are watching a good movie or programme. When an advert comes on screen many people scream expletives and curse. It doesn’t matter how good the advert is or what it is about, once it jumps on screen it gets the screaming and cursing. Why? Because the people are not there for an advert. They are there for the film or programme. Who then is to blame for the booing of the young musician?

The blame starts with promoters and event organisers and how they slot these young artistes. They must have a plan and know why they have mixed big stars like Wink D and up-and-coming musician like Sear girl. Are these competing? Or are promoters trying to groom and grow young talent by making it rub shoulders with the stars. If its grooming then there is seriously need to even have the young musician meet and even perform a song with the stars. Next in line are the artistes themselves. We need to know our target audiences. Our music is not for everyone. For example any jazz musician, no matter how good, will never walk into a Jam Pariah or Winky D show and perform for ten minutes without getting a serious reaction from the crowds. Jam Pariah and Wink D crowds are there to dance, to sweat with joy. They are not there to appreciate good music. So artistes must learn to choose their gigs carefully. The media as I have said has a role to play — not in destroying young careers but building them. How do they choose what to write? And who are they writing for? Lastly, Bulawayo crowds need to learn to appreciate their own, even if it’s for just twenty minutes. That 10 or even five minutes of being appreciated may change an artiste’s life. I am not saying Bulawayo crowds should just love anything from Bulawayo. No. I’m saying they should also know they can build or kill an artiste’s career. They need to play their role responsibly.

Final word on this. Novato Seagirl is a talented artiste. She has good music and a good stage act. Give her a chance. That’s all she needs. A chance to show everyone what she has.