ANIMAL FARM AT ZIMURA — IS THE NEW CHAIR A REWARD FOR THE ROT?

ZIMURA’s appointment of Alexio “Goodchild” Gwenzi as board chair raises questions about reform, loyalty and governance as allegations of rot, capture and royalty injustice continue to haunt Zimbabwe’s music rights body (image source)

The house of music is on fire, and once again the neighbours are arguing about curtains. As Zimbabwe’s music sector digests explosive allegations from a breakaway group of ZIMURA board members, the Zimbabwe Music Rights Association has responded with a move that feels less like reform and more like late-night television: appointing Alexio “Goodchild” Gwenzi as its new Board Chairperson. If this feels familiar, it’s because it is.

This was not a mass-membership uprising or a cathartic democratic reset. Gwenzi’s elevation comes through the same internal processes that the reformist faction says are constitutionally compromised and are now being challenged in court. In other words, while the house shakes, the furniture has simply been rearranged.

Loyalty Pays?

Gwenzi is no stranger to the front line. As former Director of Information and Publicity, he has been the most visible public defender of the current secretariat, including Polisile Ncube-Chimhini, whose leadership role and legal standing have been questioned in court proceedings and public statements by the breakaway board.

For months, Gwenzi has toured radio and television studios — often on familiar turf — arguing that all is well inside ZIMURA. Now he sits at the head of the table. In the language of late-night satire, the question almost writes itself: is this a fresh start, or a gold star for services rendered in the spin department?

ZIMURA insists continuity equals stability. Critics insist continuity equals capture. The courts, ultimately, will decide the law. For now, the optics are doing no one any favours.

The Curious Silence

Equally striking is the selective volume of the mainstream media. The appointment of a new chair made headlines. The detailed allegations aired by breakaway board members — touching on governance failures, conflicts of interest, and royalty distribution — largely did not.

Is this editorial caution, institutional comfort, or simply good old-fashioned access journalism? Gwenzi’s long-standing relationships in public broadcasting and print media have prompted uncomfortable questions about whether the watchdogs are asleep or simply house-trained.

Meanwhile, musicians continue to ask why, in a system that collects millions over time, even top-tier artists reportedly receive payouts that barely cover a decent microphone.

Where Are the Heavyweights?

Then there is the silence from the industry’s giants. Names like Alick Macheso, Jah Prayzah, and Winky D hover over every royalty conversation, yet remain conspicuously absent from this one.

Are they insulated by endorsements and parallel income streams? Are they negotiating privately? Or is this a classic Animal Farm moment, where those doing just fine see little incentive to rock a boat that mostly throws smaller artists overboard?

No accusations are made here. Just questions. Loud ones.

The Crime of Being Poor

Spare a thought for First Farai. Being clowned in the middle of this mess reminds us of the old adage: to be poor is a crime. While the board fights over office sales and commissions, the “elder” is treated like a punchline, caught in a system that values the “incapacitation grant” over actual, fair royalty distribution.

And Honourable Dingimuzi Phuti — a man of the cloth and a deputy minister — how does he keep his robes clean while being dragged into a board accused of “breaking ranks” and “selling music for commission”?

Same Circus, New Ringmaster

ZIMURA says the new chair signals order. Critics see a continuation of a system under fire. The truth will be settled not by press statements, but by audits, court rulings, and whether musicians finally see meaningful change in their pockets.

Until then, the circus continues. New ringmaster, same tent. The animals are watching.

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