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| One of the highlights during the launch of the PF's national campaign at the Mulungushi International Conference Centre last Wednesday was explosive political entertainment Picture Credit: Zambia Daily Mail |
By VICTOR KALALANDA, Lusaka
UNDOUBTEDLY the words
from this song, and others like it, had put millions in the mood.
When American
journalist Gay Talese wrote that pithy statement in 1965, it was
as true then of singer Frank Sinatra’s ballad, “In the Wee Small Hours of the
Morning," as it is of today’s hit music that has become an integral part
of political success in Zambia.
When musicians Dandy
Krazy’s Donchi Kubeba and JK’s Dununa Reverse songs were unleashed in 2011 and
2016 respectively, millions of Zambians found themselves not only bobbing their
heads to the tunes but also deeply interested in the politics of the time.
For the Patriotic Front
(PF), the music in both years brought them remarkable electoral victories
marked by raucous celebrations.
But the question now
is: would such political entertainment yet again play a central role in beliefs
and voting decisions in this year’s general elections slated for August 12?
Naturally, having
appreciated music’s power to polarise political sentiment and make candidates
irresistibly popular in previous polls, many Zambians have been on the lookout
for which song could potentially do the trick, and this has led many to launch
tirades of abuse against artists who already have started producing music for
campaign rallies.
In probably the most
dramatic case, the official YouTube channel of incredibly talented crooner, Yo
Maps, was hacked by unknown people and hijacked after he collaborated with
renowned artists Macky 2 and Mampi to release the hit song Aleteka Nakambi,
which contends for the re-election of President Edgar Lungu.
To top it all, it was a
rude shock for the multi-talented vocalist when he suddenly found the user name
for his channel changed to just three sinister letters—FFF.
As a political party
that has played what can be termed as a pioneering role in the use of
contemporary music in campaigns, the PF helps draw attention to music’s ability
to set agendas or shape public discourse, thereby influencing elections.
Late president Michael
Chilufya Sata himself seemed to have realised this aspect of music, as far back
as 2005 (as opposition leader) when he defiantly started using for his
political theme Nathan Nyirenda’s populist song, Mwe Makufi, and also as
evidenced later when he bestowed the Grand Commander of the Order of Freedom
award on Donchi Kubeba hit maker Dandy Krazy.
It should be noted that
then as an opposition party leader, Sata’s use of Nyirenda’s song did not sit
well with the Movement for Multi-party Democracy (MMD) government, which
decided to have it banned from playing on public broadcast stations.
As it appears through
the years and going by the latest developments in the entertainment industry,
music as a form of alternative media in Zambian politics has assumed a powerful
discursive role.
To be clear, its use at
campaign rallies is neither new in Zambia nor in any part of the world,
including the United States of America, as Adam Behr, a music researcher,
notes: “There’s a longstanding association between popular music and political
campaigns in the US. Campaign songs have been in play from George Washington’s
time onwards, gaining increasing prominence in the 20th century via mass media
celebrity endorsements.”
Besides, politics is
much like social movements, which, according to sociologist Kathy Stolley, “use
tactics designed to encourage a sense of community and belonging . . . .”
To make a historical
reference, a number of songs in Zambia like late Peter K Chishala’s Common Man,
which has a populist theme that decries economic struggle among the poor, have
earned boundless popularity for political reasons.
Since 2011, however,
the Patriotic Front has set a precedent like no other, drawing upon music to
win elections and consolidate power in a way that some still underrate but has
become an extremely important subject for analysis ahead of the August general
elections.
In his 2019 study that
examines the discursive role of music in African elections, with specific
reference to Zambia, University of Cape Town doctoral scholar Elastus Mambwe
shows clearly how political entertainment could influence this year’s general elections,
by analysing the lyrics to the PF hit song Sonta
Epowabomba that was used in 2016.
Mambwe notes that “the Sonta theme quickly became a subject of
debate, especially as it related to the UPND. While the theme caught on
very easily among PF supporters, it was not possible for the UPND to show what
they had done because they were yet to be in office.”
A translation of the
song, which is a commendation of President Edgar Lungu, briefly says that
“Sonta efyo wabomba, (point at your work.) Webo, ndanga efyo wabomba (show me
where you have worked). Sonta efyo wabomba (point at your work). Mona Lungu ena
efyo a bomba (Look at what Lungu has done). Ifwe tatu votela bambi (We can’t
vote for others). Ba Lungu balitonaula [Lungu has spoilt us]”
And yet again this
year, the Aleteka Nakambi song by musicians Yo Maps, Macky 2 and Mampi is meant
to have the same effect in that it vouches for the candidature of President
Lungu as a leader chosen by God, and it advises other candidates to forget
about winning because the President is bouncing back.”
Whether one likes it or
not, such ingenious political communication with its usual dancehall tone can
prop up any politician’s chances of winning an election as it could be subtle
and virulent in undermining any other candidate, and helps endear one party to
the broad majority of voters.
The seismic political
effect of the Aleteka Nakambi track itself has been seen in the way it seems to
have alienated the huge fan base of the musicians involved, who have galloped
to their own defence.
“One of the reasons why
we have so much political violence during elections,” recently said Macky 2,
apparently clearing his stance on the song, “is because we look at people with
different opinions as enemies.”
Indeed, if these songs
had negligible impact, they would not be causing such widespread reaction.
But it happens because
the entertainment is perceived as tacit political endorsements by celebrities,
leaving anybody to guess just how many of their followers would have been converted
while listening and dancing to the message in the music.
Surprisingly, while the
PF seems to have invested heavily in so-called politainment and already floated
thrilling songs to the voting population ahead of August 12, the major
opposition party UPND and other contenders such as the New Heritage Party are
not decided on their theme songs and celebrity collaborations.
“Well, we’ve a lot of
musicians who have listed a lot of songs, which we’re selecting from,”
discloses UPND secretary general, Batuke Imenda. “We’re still selecting.”
In the past, the UPND
have largely used the song Aleisa by musician Cavman, but it remains to be seen
if this year the party can make the investment needed to benefit from the clout
of political entertainment.
Heritage Party running
mate, Sam Kasankha, says “quite a number of artists have done songs about our
party. And they have brought them to us and they have said, ‘Well, what do you
think about this? Can we negotiate over the use of these songs?’”
Therefore, it becomes
clear that the PF yet again have the first mover advantage in using
entertainment as a major electioneering aid this year and there can be no
question that one way or the other this will advance their cause.
As the campaigns begin
to intensify in readiness for the forthcoming general elections, the excitement
and mixed reactions artists have aroused in the country suggest that music will
not only be a talking point but it will also likely influence beliefs and
voting decisions.
It is either politicians exploit the music or
underrate it at their own peril.
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