Lovemore Majaivana did it. Albert Nyathi did it. Lwazi Tshabangu did it. Crossing the Shangani River has become a rite of passage for Bulawayo’s artists seeking to conquer new horizons.
By Trevor Mawaka
It’s no secret that Bulawayo holds the crown as Zimbabwe’s Arts and Culture Capital. Yet, for generations, its creatives have packed their bags and crossed the Shangani—symbolically and literally—in search of wider recognition, lucrative opportunities, and the alluring bright lights of Harare. Some relocate entirely, others shuttle back and forth for shows and collaborations, while a few work remotely, building their networks across the divide.
But why do they leave? Is it the promise of fame and fortune, the sheer thrill of city life, or the frustration of limited opportunities at home? Whatever the reason, the journey is a tale of ambition, perseverance, and sometimes controversy.
Let’s explore three artists who’ve made their mark by crossing the Shangani River.
Ma9: The Rapper on the Rise
In Bulawayo, the name Ma9 is on everyone’s lips—and not just because of his much-publicized feud with Sipho Mercant Nyathi. Their rivalry has ignited a creative spark, but it’s Ma9’s collaborations across the Shangani that have truly amplified his career.
Take his breakout hit “Chimuti (Istampa)” with Harare-based Enzo Ishall. Before the track, Ma9 was a local sensation, known by a select few beyond Bulawayo. Today, he’s a rising star on the national scene, with “Chimuti” racking up massive online views. His remix of Enzo Ishall’s “Babie Rako Raroorwa” (rebranded “Ulotsholiwe”) further solidified his status, and their work on a commercial advert showed his ability to blend artistry with business savvy.
But fame comes with its challenges. Critics have labeled him an “Enzo Ishall copycat,” questioning whether his brand can stand independently. Time will tell if Ma9 can overcome the skepticism and continue his ascent, but for now, his journey across the Shangani has added undeniable value to his career.
Noluntu J: The Kasi Hip-Hop Queen
Noluntu J, affectionately known as Ubarbie waseKasi, has quickly become one of Zimbabwe’s most exciting hip-hop voices. Born in South Africa and raised in Bulawayo, her clever wordplay, sharp wit, and charisma have earned her legions of fans.
While Noluntu J has firmly planted her roots in Bulawayo, her occasional forays into Harare have boosted her profile. Her collaborations with Holy 10 on tracks like “Ndirikurwadziwa” and “Uzozisola” are fan favorites, and her live performances—like the sold-out show at Jongwe Corner—showcase her ability to captivate audiences across the Shangani divide.
As Zimbabwe’s self-proclaimed Princess of Hip-Hop, Noluntu J is carving a niche that blends humor, raw talent, and cultural pride. Her strategic Shangani crossings have not only expanded her audience but also solidified her reputation as a formidable force in the local music industry.
Calvin Mangena: Harare’s Adopted Son
Calvin Mangena might call Bulawayo home, but his heart (and schedule) often seem to belong to Harare. His strategy for success is immersion—spending most of his time in the capital, where he collaborates with top-tier artists and performs at Harare’s most popular venues.
From working with Nutty O and Nyasha David on “Kwela Langa” to teaming up with Tocky Vibes on “Unondipa Energy,” Calvin’s collaborative portfolio reads like a who’s who of Harare’s music scene. His crowning achievement? “Uhulumende,” a blockbuster track that united some of Zimbabwe’s biggest hip-hop stars.
Though Calvin occasionally returns to Bulawayo for performances, he’s established himself as a mainstay in Harare’s music landscape. His journey across the Shangani has not only expanded his career opportunities but also positioned him as one of Zimbabwe’s most versatile artists.
Is It Worth It?
The stories of Ma9, Noluntu J, and Calvin Mangena illustrate the potential rewards—and challenges—of crossing the Shangani River. For some, it’s a career-defining move that opens doors to greater recognition and financial stability. For others, it raises questions about authenticity and the trade-offs of leaving one’s hometown behind.
So, is it worth it? That depends on the artist, their ambitions, and their ability to navigate the cultural and professional dynamics of both cities. What’s clear is that crossing the Shangani is not just a journey of geography—it’s a test of resilience, adaptability, and vision.
What do you think? Share your thoughts on the journeys of these artists and the broader significance of crossing the Shangani River.
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