The Zimbabwe Music Rights Association (Zimura) stands today at a defining moment in its history.
Recent weeks have seen the institution subjected to deliberate destabilisation efforts by three former board members — Gift Amuli, Dereck Mpofu and Joseph Garakara—who were formally removed from the Council on January 21, 2026.
Their actions, ranging from unauthorised press conferences to the leaking of confidential salary details and spreading falsehoods about property sales, have been calculated to discredit Zimura’s leadership and sow division among musicians. Yet, beneath the noise lies a clear truth: Zimura is stronger than ever and its vision for the future is aligned with Zimbabwe’s national development agenda.
The trio’s conduct has been marked by disregard for governance protocols and a thirst for power without accountability. They absconded from the democratic voting process for new leadership, only to later denounce it as a “sham.” Their refusal to contest the vote was not an act of principle but of fear — fear of being rejected by their peers on merit.
Instead, they resorted to divisive tactics, staging demonstrations and mobilising musicians with little or no active airplay to create the illusion of mass discontent.
Their campaign has also been laced with regional prejudice. At the center of their attacks is Alexio Gwenzi, known in the music industry as Goodchild, who was duly elected as Zimura chairperson.
Their disdain for Gwenzi is not based on his performance or vision, but on his origins. As a proud son of Kwekwe in the Midlands, Gwenzi represents a break from the Harare-centric elitism that has long dominated Zimbabwe’s creative institutions. Their rhetoric promotes regionalism, undermining national unity and betraying the inclusive spirit that Zimura embodies.
To understand the current moment, one must look back at the tenure of Albert Nyathi, one of Zimbabwe’s foremost arts luminaries. Under his chairmanship, Zimura experienced a renaissance. The association relocated from outdated flats to modern premises, improving staff welfare and operational efficiency.
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Allegations of financial misconduct during his tenure were thoroughly investigated and dismissed by independent audits, reaffirming the board’s commitment to transparency and accountability.
Nyathi’s leadership was defined by vision and resilience. He steered Zimura through turbulent times, ensuring that the institution remained focused on its core mandate: protecting the rights of musicians and ensuring fair royalty distribution.
His tenure laid the foundation for the revitalisation of Zimura, proving that strong leadership rooted in integrity can transform institutions.
Building on Nyathi’s legacy, Gwenzi has articulated a bold vision for Zimura’s future. His leadership is premised on professionalizing the music industry, ensuring equitable royalty distribution and aligning Zimura’s operations with Zimbabwe’s Vision 2030.
This national development agenda seeks to transform Zimbabwe into a middle-income economy by 2030, leaving no one behind. Gwenzi’s vision dovetails seamlessly with this mantra, positioning Zimura as a key player in the cultural and economic transformation of the nation.
Gwenzi’s approach is inclusive and forward-looking. He recognises that music is not just art but enterprise—a vital sector that contributes to national identity, social cohesion and economic growth. His leadership seeks to empower musicians across regions and genres, ensuring that every artist, from sungura legends like Alick Macheso to contemporary stars like Jah Prayzah, benefits from a fair and transparent system.
The disruptive actions of Amuli, Mpofu and Garakara appear to be part of a broader scheme to legitimise the Zimu, a shadowy entity allegedly registered under dubious circumstances. Reports suggest that another entity ZICCO (duly registered CMO albeit under serious legal and industry objections) been collecting royalties without a credible membership base, raising serious questions about its legitimacy. It’s also been using these malcontents to discredit Zimura and position itself as the only credible CMO in Zimbabwe.
By discrediting Zimura, the trio seeks to create space for this parallel structure, undermining the only legally recognised Collective Management Organisation in Zimbabwe.
Their demonstrations, which include musicians with no active airplay, are designed to manufacture a narrative of mass discontent. Yet, the silence of respected artists like Jah Prayzah, Alick Macheso and other reputable artists with a massive following and airplay speaks volumes.
These artists, who command significant influence and enjoy widespread popularity, have not joined the chorus of dissent. Their confidence in Zimura’s elected leadership underscores the hollowness of the trio’s claims.
Zimura is more than an institution — it is the heartbeat of Zimbabwe’s music economy. It ensures that when a Zimbabwean song plays in a bar in Bulawayo, a hotel in Victoria Falls or a radio station in Harare, the creator is compensated.
Undermining Zimura is not just an attack on its leadership; it is an attack on every artist striving to earn a living from their craft.
Musicians must reject the circus. They must see through the smoke and mirrors. They must rally behind leadership that is accountable, visionary, and inclusive.
The future of Zimbabwean music depends on unity, integrity and a shared commitment to progress.
Zimbabwe’s Vision 2030 is not just a government mantra—it is a national call to action. It envisions a middle-income economy where every citizen, including musicians, enjoys improved livelihoods. Zimura’s alignment with this vision is critical. By professionalising the music industry, ensuring fair compensation and protecting intellectual property, Zimura contributes directly to the realisation of Vision 2030.
Gwenzi’s leadership embodies this alignment. His vision is to leave no musician behind, ensuring that artists from all corners of the country benefit from Zimura’s mandate. This inclusive approach not only strengthens the music industry but also reinforces national unity, countering the divisive rhetoric of those who seek to exploit regional differences.
The current turbulence within Zimura is not a crisis — it is a test. It is a test of the institution’s resilience, the musicians’ unity and the nation’s commitment to progress. The actions of Amuli, Mpofu and Garakara are distractions, designed to sow division and undermine progress. But the vision of leaders like Nyathi and Gwenzi offers a clear path forward.
Musicians and stakeholders must choose progress over distraction, unity over division and vision over chaos. Zimura is stronger than the noise.
Its mandate is clear, its leadership is visionary and its future is bright. By rallying behind Gwenzi’s leadership and rejecting the side shows, Zimbabwean musicians can secure a prosperous future — one that aligns with Vision 2030 and ensures that no artist is left behind.
