For decades, Sungura music was the heartbeat of Zimbabwe’s entertainment industry.
From beerhalls, mining communities and growth points to national radio airwaves, the fast-paced guitar rhythms once defined the country’s soundscape.
Today, however, an uncomfortable question is gaining traction within the music industry: Is Sungura slowly dying?
Sungura music, one of Zimbabwe’s most recognisable musical genres, emerged in the late 1960s and early 1970s when local musicians began blending foreign influences with traditional Zimbabwean sounds.
The genre was heavily influenced by Congolese rhumba, which was popular across southern Africa at the time. Zimbabwean artists adopted the intricate guitar styles from the Democratic Republic of Congo and gradually adapted them to local languages and rhythms, particularly in Shona, creating a unique sound.
The name “Sungura,” which means rabbit in Shona, became associated with the genre in the late 1970s and early 1980s.
It is believed the name was inspired by the fast, hopping rhythm of the guitars that characterise the music.
Early pioneers such as the Sungura Boys, Ephraim Joe, John Chibadura, Leonard Dembo, Nicholas Zakaria and Simon Chimbetu played a crucial role in shaping and popularising the genre, turning it into a distinct Zimbabwean musical identity.
Sungura reached its peak during the 1980s and 1990s when it dominated radio airplay and live performances across the country.
Artists like Tongai Moyo, System Tazvida and Alick Macheso further cemented its popularity with energetic performances and relatable storytelling lyrics.
While the genre is far from extinct, many artists believe it is gradually losing ground in an evolving music landscape.
Over the years, newer genres like Zimdancehall, hip-hop and Afro-pop, often infused with global influences, have taken over urban radio stations and youth culture.
This shift has left Sungura fighting for space on mainstream platforms.
Sungura musician Gift Amuli believes the genre is facing a slow decline and says artists themselves must reflect on possible causes.
“As we all realise that Sungura is gradually dying a natural death. What might be the main cause? Is it the lyrics or repeated chord progressions or harmonies per se?” Amuli said.
He also questioned whether Sungura artists are now being pushed to abandon the traditional sound that defined the genre.
“Nama (National Arts Merits Awards) did not recognise Sungura at all. Are we Sungura artists encouraged to join the circular Afro-fusion beats and desist from traditional wire progressions?”
Other musicians argue that the problem lies not with the music itself, but with limited exposure on mainstream platforms.
Another Sungura artist Romeo Gasa says the genre receives very little airplay on most commercial radio stations.
“Sungura music is played by only two radio stations — Radio Zimbabwe and National FM. On the third station, Star FM, it only gets about one or two hours of airplay for the entire week, if I stand to be corrected,” he said.
“As for the other stations, we might as well not even talk about them because they do not play it at all.”
Gasa also believes the genre is increasingly being sidelined at major entertainment events.
“When awards ceremonies are held, there are no Sungura performances and the artists are not invited to participate in the events. Yet you expect your events to reach international standards?” he said.
The conversation around recognition recently intensified following the recently held Nama ceremony.
“I applauded Nama for featuring Plaxedes Wenyika, Dino Mudondo and Alexio Kawara as guest performers this year. It was unexpected and refreshing to hear our classic hits on a big stage instead of the same performances every time,” Gasa said.
“But tell me, why did you not consider including veteran Josephat Somanje so that we could hear ‘This Time Haulume’? or Joseph Garakara?”
For some Sungura artists, the issue goes beyond awards ceremonies.
“Is there an agenda to destroy our beloved original genre?” Gasa asked.
The passing of several Sungura pioneers has also contributed to the genre’s challenges.
Zimbabwe has lost influential figures such as Dembo, Moyo, Chibadura, Zakaria and Tazvida, musicians who helped shape and popularise the genre across the country.
Their absence created a gap that has been difficult to fill.
Musician and arts critic Clive “Mono” Mukundu described Sungura as a sleeping lion.
“It’s still the most popular genre, but it’s being negatively impacted by the imitation of Macheso,” he said.
Another challenge facing Sungura is attracting younger musicians, says University of Zimbabwe lecturer and music critic Fred Zindi.
“Apart from Alick Macheso and two others, there seems to be no-one carrying the sungura beat forward,” he said.
“If something was to happen to Macheso would this mean the end of Sungura? Does this mean that the Sungura beat is slowly drifting away?
“Unless up and coming musicians are persuaded to continue with this beat instead of Zimdancehall or R&B this might mean the death of Sungura as Macheso cannot spread himself among different venues in the country at once.”
Zindi said many emerging artists were gravitating towards contemporary sounds like dancehall, hip-hop and Amapiano-influenced music that dominate digital platforms and urban youth culture.
This shift means the genre is largely sustained by veteran performers and loyal fans.
Despite the challenges, Sungura remains a resilient genre.
Artists such as Macheso, Sulumani, Peter Moyo and Mark Ngwazi continue to release music and draw crowds at live performances.
Benjamin Nyandoro, an arts promoter, argues that Sungura has repeatedly proven its ability to survive changing trends.
For many fans, Sungura remains a vital part of Zimbabwe’s cultural identity.