Zimbabwean care workers in Ireland accuse a recruiter of exploitation, unpaid wages, overcrowded housing, and broken job promises in a WRC case ( image source ) A group of Zimbabwean care workers has told Ireland’s Workplace Relations Commission that they paid thousands of euros in recruitment fees to an Irish healthcare company and were then left without wages, adequate accommodation or the promised jobs. Eight complainants described a pattern of broken promises, threats and severe financial hardship after travelling to Ireland between December 2023 and January 2024 to take up care-sector positions in Virginia, Co. Cavan. The workers said they paid between €2,000 and €3,600 each to Unity Healthcare Services Ltd or its directors after being assured that work permits and staff housing would be arranged. Instead, they arrived to find the care facility that had been advertised had not opened. Some received a short-lived weekly allowance of €100, which stopped after about three weeks, leaving most with no regular income and dependent on pooled savings, casual cleaning jobs and babysitting to survive. Seven of the complainants were housed in a company-rented staff house that they described as overcrowded and “freezing,” with some forced to sleep in dining rooms because there were not enough beds. The tribunal heard that residents pooled money for food and electricity and that several survived only by taking informal work unrelated to the roles they had been recruited for. When workers asked Unity Healthcare about switching employers, they say they were threatened with cancellation of their work permits. One witness told the commission she waited seven months for a “letter of no objection” — a document required to change employers — and by the time it arrived two job offers she had secured had already evaporated. The eight workers — Shingirirai Chiwaridzo, Nombeko Hlabangana, Brenda Mubaiwa, Tatenda Ncube, Allen Phillip Ndhlovu, Nicola Sibanda, Nobuhle Sibanda, and Agapao Munashe Zvihari — are pursuing complaints under Ireland’s Payment of Wages Act 1991, seeking unpaid wages and refunds of recruitment fees. The Migrant Rights Centre Ireland (MRCI) is representing them and told the commission the case highlights serious gaps in protections for migrant workers, particularly where recruitment is outsourced across borders. The WRC hearing was adjourned after the initial testimonies, with a ninth complainant expected to give evidence at a later date. The adjournment gives the tribunal time to consider the evidence and for both sides to prepare further submissions. Unity Healthcare’s co-director, Bruce Magama, told the tribunal that the opening of the care centre had been delayed and that the company had tried to assist workers in finding alternative employment. He acknowledged operational setbacks but denied that the company had wilfully abandoned staff. Tribunal records show, however, that none of the complainants secured stable employment through Unity Healthcare after arriving in Ireland. Advocates say the case is emblematic of a broader problem in migrant labour recruitment: workers paying large sums up front to secure overseas jobs and then being left vulnerable when promises are not met. The MRCI has used the hearing to call for stronger oversight of recruitment practices, clearer enforcement of employer obligations, and faster administrative processes that prevent workers from being trapped in precarious situations by delays in paperwork. Legal experts and migrant rights groups argue that the tribunal’s findings could inform policy changes on recruitment fees, employer accountability and the regulation of third-party recruiters. They also stress the need for accessible complaint mechanisms and emergency supports for workers who arrive without the wages or housing they were promised. The WRC will reconvene to hear further testimony and consider the legal claims. If the tribunal finds in favour of the complainants, remedies could include orders for unpaid wages, reimbursement of recruitment fees and other compensation. Beyond individual outcomes, the case is likely to intensify scrutiny of cross-border recruitment in the Irish care sector and to prompt calls for systemic protections to prevent similar exploitation in future.

ZIMURA members react with outrage after outgoing chair Albert Nyathi confirms the association’s Harare offices have been sold without prior consultation ( image source ) The Zimbabwe Music Rights Association (ZIMURA) has been plunged into yet another moment of uncertainty — a moment many musicians describe as both sorrowful and deeply unsettling — after outgoing chairperson Albert Nyathi confirmed that the organisation’s Harare offices have been sold. For thousands of artists who relied on that building as a symbolic home of their rights and livelihoods, the news has landed like a quiet earthquake. Some members say they found out “through whispers, not leadership,” while others admit they are still struggling to understand how such a monumental decision could be taken without their knowledge. Now, confusion has given way to pointed questions: Why was the sale necessary? Who authorised it? Where did the money go? And, perhaps most painfully, why weren’t the very creators ZIMURA represents consulted at all? Sale confirmed and defended by outgoing board Speaking to Southerton Business Times, Mr Nyathi confirmed the transaction, saying, “Yes, the building was sold. Payment was received in full. The board agreed that the current offices were too small and unsuitable for an organisation of ZIMURA’s size.” He explained that the Harare premises, located in a residential neighbourhood, had become limiting for operations. He said the board is now searching for a larger plot of 1,000–2,000 m², adding, “If the new board can secure 3,000 square metres, even better. Bulawayo is the benchmark — that’s the standard we must match.” Mr Nyathi said the sale was facilitated by Seef Real Estate and insisted the board acted within its legal authority. “Members elect directors to make decisions on their behalf. The board is empowered to transact and appoint professionals as necessary.” Members furious — demanding clarity and documentation But the announcement has not been well-received. Several ZIMURA members told Southerton Business Times that they feel excluded from a decision of significant financial and strategic impact. One member asked, “How do you sell national assets without even informing us? This should have gone to an AGM at the very least.” Another said, “We were promised transparency — especially after the executive scandals. Instead, we are hearing about a sale after the money has already changed hands.” Common questions from members include: • Why wasn’t prior consultation done? • Why wasn’t the matter tabled at an AGM or EGM? • What was the sale price and how will funds be protected? • Why sell instead of taking a mortgage to upgrade? • Who is the buyer and what professional advice guided the process? Incoming board members Derck Mpofu and Gift Amuli acknowledged questions from this publication but had not submitted full comment by the time of going to press. Context: a turbulent period for ZIMURA The sale comes at a time when the association is under heightened scrutiny following: • the halted cover-band tariff, after intervention by the Ministry of Justice; • ongoing public disputes with ZIMU; • and the recent conviction of former executive director Polisile Ncube Chimhini, which has fuelled pressure for reforms and stronger oversight. One senior industry observer said, “ZIMURA cannot afford another trust deficit. Every major decision must now be beyond reproach.” What the board argues, and what members want Board position: Mr Nyathi maintains the board acted in good faith to secure a more functional headquarters that reflects ZIMURA’s growing membership and operational demands. “The priority is better space for artists — proper offices, meeting rooms, internet infrastructure. The old place simply couldn’t cope.” Members’ demands: Artists want full disclosure of the sale agreement, valuation reports, the buyer’s identity, and a transparent plan for how the proceeds will be managed. Many argue that consultation is not only good governance — it is essential for rebuilding trust. An unfolding story This story is still unfolding, its pages fluttering in the wind like sheet music waiting for the next note. Southerton Business Times will keep chasing the missing pieces — the paperwork, the voices, the truths tucked between boardrooms and back-offices — listening closely for harmony or dissonance from both the outgoing and incoming ZIMURA leaders, the estate agents, and the regulators who hold the tuning fork. And if you are a ZIMURA member carrying questions, whispers or worries in your heart, let them find their way to us. Your stories, your clues, your lived experiences are the verses that will shape the next chapter. Reach out to our newsroom, and together we will follow the melody of this matter wherever it leads.

Mai TT urges fans to report pirate uploads of her Nollywood film Lost in Ashes after its viral YouTube release draws unauthorised reuploads ( image source ) Comedian and actress Felistas Murata, popularly known as Mai TT, has taken to social media to warn fans about unauthorised uploads of her new Nollywood film Lost in Ashes. She released the movie on YouTube three days ago following its September premiere in Harare, which drew several Nollywood stars. Murata says she personally financed the production, spending US$100,000, and is urging supporters to report any channels distributing the film without permission. The official YouTube release has become a viral hit, reportedly reaching 400,000 views within its first 48 hours — a milestone that highlights both the film’s popularity and the commercial stakes involved. But the rapid spread has also made it a target for pirate channels that Murata accuses of reposting the full movie to monetise views. She has asked fans to send links to any unauthorised uploads so that action can be taken against offending accounts. Mai TT’s message was blunt: “Kindly send every YouTube link that shares my movie on their screens for money. Remember I spent my 100,000 USD without their help,” she told followers. She added that she respects fans who legitimately purchased tickets or supported the premiere, but not bloggers and channels reposting her content for profit. The appeal has struck a chord online, where teasers and clips of Lost in Ashes have circulated widely, driving up interest while increasing the risk of unauthorised redistribution. For independent producers, such uploads erode revenue streams and compromise the ability to recoup production costs — a particularly pressing issue when a single creator shoulders the entire financial burden. Murata’s public call to action is both protective and practical: crowd-sourced reporting can help platforms identify and remove infringing uploads quickly, while signalling to potential pirates that the film’s creators are monitoring activity and prepared to issue takedowns. Supporters can help by reporting infringing YouTube links, sharing only official channels, and avoiding sites that stream the film without permission. Fans are encouraged to check for verified accounts and official playlists to ensure views and ad revenue benefit the rightful owners. Murata’s request for direct link submissions is a fast, community-driven way to safeguard the project’s earnings and visibility. The Lost in Ashes episode underscores a recurring challenge for African filmmakers: protecting creative rights while pursuing wide digital reach. If Murata and her team can convert the film’s early momentum into legitimate streams and swift enforcement against pirates, the viral attention could translate into sustained revenue and broader distribution — a win for the artist and for audiences seeking to support original work. Comedian and actress Felistas Murata, popularly known as Mai TT, has taken to social media to warn fans about unauthorised uploads of her new Nollywood film Lost in Ashes. She released the movie on YouTube three days ago following its September premiere in Harare, which drew several Nollywood stars. Murata says she personally financed the production, spending US$100,000, and is urging supporters to report any channels distributing the film without permission. The official YouTube release has become a viral hit, reportedly reaching 400,000 views within its first 48 hours — a milestone that highlights both the film’s popularity and the commercial stakes involved. But the rapid spread has also made it a target for pirate channels that Murata accuses of reposting the full movie to monetise views. She has asked fans to send links to any unauthorised uploads so that action can be taken against offending accounts. Mai TT’s message was blunt: “Kindly send every YouTube link that shares my movie on their screens for money. Remember I spent my 100,000 USD without their help,” she told followers. She added that she respects fans who legitimately purchased tickets or supported the premiere, but not bloggers and channels reposting her content for profit. The appeal has struck a chord online, where teasers and clips of Lost in Ashes have circulated widely, driving up interest while increasing the risk of unauthorised redistribution. For independent producers, such uploads erode revenue streams and compromise the ability to recoup production costs — a particularly pressing issue when a single creator shoulders the entire financial burden. Murata’s public call to action is both protective and practical: crowd-sourced reporting can help platforms identify and remove infringing uploads quickly, while signalling to potential pirates that the film’s creators are monitoring activity and prepared to issue takedowns. Supporters can help by reporting infringing YouTube links, sharing only official channels, and avoiding sites that stream the film without permission. Fans are encouraged to check for verified accounts and official playlists to ensure views and ad revenue benefit the rightful owners. Murata’s request for direct link submissions is a fast, community-driven way to safeguard the project’s earnings and visibility. The Lost in Ashes episode underscores a recurring challenge for African filmmakers: protecting creative rights while pursuing wide digital reach. If Murata and her team can convert the film’s early momentum into legitimate streams and swift enforcement against pirates, the viral attention could translate into sustained revenue and broader distribution — a win for the artist and for audiences seeking to support original work.

NAMA appoints Scarlet Business Communications and Events Evolution to lead a new era focused on stronger production, broader categories, and deeper partnerships ( image source ) Reginald Matinanga, executive director of Scarlet Business Communications, has assumed leadership of the National Arts Merit Awards (NAMA), bringing a mandate to deliver a more ambitious, disciplined, and partner-friendly showcase for Zimbabwe’s creative sector. Working in tandem with Events Evolution CEO Talent Banda, Matinanga’s tenure focuses on elevating production standards, broadening categories, and building long-term strategic partnerships that can strengthen NAMA’s financial footing and public impact. Matinanga’s appointment follows the National Arts Council of Zimbabwe’s (NACZ) decision to appoint Scarlet Studios, in partnership with Events Evolution, as NAMA’s event managers for the 2026–2030 cycle. The move ends a five-year period under Jacaranda Culture Media Corporation (JCMC) and signals a shift toward a joint-events management model that pairs creative direction with operational discipline. NACZ’s communications lead announced the appointments, emphasizing that the award platform must keep pace with the sector’s growth and evolving formats. Scarlet’s pitch to the sector is built on delivery and credibility. Matinanga said his primary focus is to stage “exciting, prestigious, well-planned and well-executed” events — a foundation he believes will make it easier to attract “sustainable, long-term, mutually-beneficial partnerships.” He credited JCMC for its contribution in raising the awards’ profile and pledged continuity on excellence, while deepening NAMA’s value proposition for sponsors and artists alike. His professional profile spanning public relations, media, and events operations points to a hands-on approach with experience across planning, logistics, video production, and stakeholder engagement. NAMA’s scope is expanding under the new managers. Fresh categories already added — Fashion and Digital & Visual Arts — reflect a broader embrace of contemporary creative practice and hybrid forms, aligning the awards with global trends and the realities of Zimbabwe’s creative economy. Matinanga noted that while categories are the NACZ’s statutory domain, Scarlet has supported consultative processes, including artist workshops that surfaced new category proposals now under consideration for future editions. The 24th edition of NAMA is scheduled for February 28, 2026, under the theme “Fearless Creativity,” a rallying call for bold artistic risk-taking and cross-disciplinary experimentation. At a recent press conference, NACZ director for arts promotion and development, Barbra Gotore, urged creators from all fields to submit works produced between December 1, 2024, and November 30, 2025 — the eligibility window for this cycle. She underscored that NAMA is submission-based and thrives on diverse entries that mirror the country’s creative breadth. To reinforce integrity and trust, NACZ has engaged Alinial Chartered Accountants to monitor the awards pipeline — from submissions and nomination vetting through to the ceremony — via a formal memorandum of understanding. This independent oversight is intended to strengthen transparency around adjudication, enhance auditability, and provide stakeholders with confidence in outcomes. The new managers and NACZ officials described the refreshed Lion Logo as an emblem of innovation and calm, entwined with courage — a signal of the brand’s intent to project boldness with clarity and discipline. For artists, the message is twofold: NAMA is widening its embrace of forms and mediums, and it is standardizing the process infrastructure behind the scenes. Scarlet and Events Evolution’s partnership will be judged on whether they deliver a technical, punctual, and audience-ready show, and whether they can create compelling sponsor packages that bind corporate partners to multi-year commitments, reducing reliance on short-cycle funding. If the events are consistently excellent, the managers say, the commercial ecosystem around the awards becomes easier to grow. This cycle’s success metrics extend beyond the broadcast and the ceremony’s aesthetics. They include the quality and representativeness of submissions, clarity of nomination criteria, communication with entrants, and post-award reporting. In practical terms, that means timely guidelines, transparent category definitions, and smooth entrant support alongside diligent adjudication. The managers and NACZ have framed NAMA as both a benchmark and an engine of sector development: a platform that celebrates excellence, encourages innovation, and connects artists to audiences, peers, and patrons across Zimbabwe and beyond. Matinanga’s stewardship lands at a moment when Zimbabwe’s cultural institutions are tightening governance and modernizing event operations. His experience across communications and events, plus the Events Evolution partnership, sets a clear expectation: a professionally executed NAMA that can host the sector’s ambition without compromising fairness or craft. If that promise holds, “Fearless Creativity” will be more than a theme; it will be a measurable standard — from how entries are handled to how the spotlight finds and lifts the best of Zimbabwean art.

Tension eases in the Warriors camp after a crisis meeting, with coach Marinica softening his approach as Zimbabwe rebuilds trust ahead of AFCON ( image source ) Normalcy has begun to return to the Warriors camp after a week of turmoil, with sources saying head coach Marian Marinica adopted a markedly friendlier demeanour following a crisis meeting with players and separate interventions by ZIFA president Nqobile Magwizi. The change of tone came after explosive allegations of verbal abuse and racism that followed Zimbabwe’s 3–1 defeat to Algeria in a friendly in Saudi Arabia, and which culminated in midfielder Tawanda Chirewa abruptly leaving camp and returning to England. The dispute reportedly escalated in the immediate aftermath of the Algeria match, when players clashed with the new coach over his language and conduct. Team members alleged that Marinica used abusive and vulgar language, made personal attacks and, most seriously, used a racial slur — claims that sparked outrage inside the squad and on social media. ZIFA initially sought to control the narrative by saying Chirewa had been recalled by his club, Wolverhampton Wanderers, a claim players quickly disputed as the relationship between coach and squad frayed. Players described a pattern of confrontational behaviour that predated the Algeria fixture. Senior figures such as skipper Marvelous Nakamba and defender Devine Lunga were reportedly frozen out after arriving late because of a flight delay, while others say the coach made demeaning remarks about veterans and younger players alike — including alleged taunts directed at Washington Arubi, Emmanuel Jalai and Tawanda Maswanhise. Those accounts, if accurate, helped create a toxic atmosphere that threatened to derail preparations for a tough AFCON group featuring Egypt, South Africa and Angola. Marinica has defended his methods, arguing that resistance is a natural response to change and that his intent is to overhaul entrenched practices. He told ZIFA in an in-house interview that new ideas often meet pushback and that reforms were necessary to improve results. But sources say the decisive moment came when Magwizi held separate meetings with the coach and the players in Qatar, helping to defuse tensions and restore lines of communication ahead of the team’s second friendly against the hosts. Players who spoke to this publication described a visible shift in camp dynamics after the interventions. Training sessions in Qatar were reported to be calmer and more constructive, with one player saying the coach “was a completely different person” and that the squad “really enjoyed” the first session there. Marvelous Nakamba urged fans to continue supporting the team, stressing that the Algeria game was a learning exercise and that the squad must be given space to implement the new technical staff’s ideas. The immediate test of whether the détente holds will be on the pitch as the Warriors use upcoming friendlies to rebuild cohesion and sharpen tactics. For now, the priority inside camp is rebuilding trust, ensuring respectful communication, and converting the calmer atmosphere into improved performances as the AFCON finals approach.

LitFest Harare 2025 returns with a Kalanga-inspired theme, hosting over 80 artists across eight countries and celebrating multilingual storytelling, cultural memory and the evolving legacies of African art ( image source ) LitFest Harare returns for its 12th edition later this month with a Kalanga-inspired theme, “Lebeleka Takawilila” — “Speak, we are listening” — an invitation to hear ancestral voices, honour present rhythms and carry stories into the future. Festival director Chirikure Chirikure frames this year’s message as a commitment to artistic continuity and cultural resonance, positioning literature and allied arts as living archives that build bridges, preserve memory and shape identity in a changing world. Running from November 26 to 29, LitFest Harare 2025 will unfold across two city venues — Alliance Française de Harare and Theatre in the Park — spaces long associated with the festival’s ethos of open dialogue, performance and community engagement. Organisers highlight a programme designed to draw readers, writers, scholars and audiences into conversations across generations and languages, while sustaining LitFest’s hallmark blend of readings, panels, workshops and interdisciplinary showcases. This year’s festival is set to host over 80 participants spanning at least eight countries, including Botswana, Lesotho, Sweden, Malawi, the United Kingdom, South Africa and Zimbabwe. The curatorial intent is to deepen cross-border literary exchange and ensure a multiplicity of voices on craft, translation, cultural memory and the social responsibilities of art. That international reach builds on LitFest’s track record since its establishment in 2014 as a platform for writers and artists to present work and for the public to engage through readings, performances, debates and outreach, typically over four days in central Harare and sometimes online. Chirikure underscores the thematic arc “The Languages and Legacies of Art” as a deliberate focus on how literature, poetry, theatre, visual storytelling and music communicate across time. It is a call to listen — not only to the art itself but to the communities that produce and sustain it, and to the ethical frames that guide cultural exchange. The festival’s multilingual character, with English among other languages, forms part of that listening practice, widening participation and expanding the range of expressive traditions represented on stage and in conversation. Programme highlights include an opening evening reception; a theatrical adaptation of the classic novel and O’ Level set text “Tambaoga Mwanangu”; an evening of poetic intersection; a silent reading hour paired with a book swap; a visual poetry exhibition; a poetry slam; and a closing concert in partnership with SoFar Sounds Harare celebrating African unity at a surprise location. These curations balance pedagogical and popular energies — school-set literature alongside contemporary performance; quiet communal reading alongside the dynamism of slam poetry; and cross-genre collaborations that foreground voice, rhythm and community as the beating heart of literary culture. LitFest’s design this year also emphasises accessibility and the practical infrastructures of participation: how audiences enter the festival’s spaces feeling part of the conversation, how early-career writers find mentors and readers, and how communities see themselves reflected in programming. The curatorial choices suggest a festival aware of the demands on art to be both sanctuary and platform — a place where language is cared for and challenged, where legacies are celebrated and interrogated, and where new forms emerge through dialogue rather than isolation. For a city that often convenes art under pressure — economic, social and technological — LitFest Harare’s thematic insistence on listening is striking. It centres care: for memory, for craft, for the meanings art produces in daily life. It asks audiences to engage beyond reaction, to inhabit questions about lineage, responsibility and imagination. And by staging these questions across venues rooted in local cultural life, the festival affirms that literature’s power is not abstract — it is embodied, communal and consequential. As the festival opens, the measure of its success will be felt not only in attendance or headlines but in the conversations that persist: students carrying scenes from “Tambaoga Mwanangu” into classroom debates; poets remapping their practice through multilingual exchange; readers finding themselves in the silent hour; and musicians threading unity through a closing set that travels beyond the stage. In that sense, “Lebeleka Takawilila” is both theme and practice — an invitation to speak and to hear, to honour what art has carried and to shape what it must still become.

A Munhenzva cross-border coach overturned on the Masvingo–Beitbridge highway ( image source ) Police have confirmed a fatal bus accident on the Masvingo–Beitbridge highway involving a Munhenzva Bus Company coach, with authorities still verifying the number of deaths and injuries after the vehicle overturned and struck a tree along the Rutenga–Mwenezi stretch late Sunday. The Zimbabwe Republic Police (ZRP) said the crash occurred at approximately the 155 km peg at around 17:20, and promised further details once officials have completed scene examinations and hospital checks for the injured. Eyewitness footage and initial reports indicate the bus left the roadway and ended up on its side, with significant front-end damage, shattered windows, and debris including luggage and personal items scattered across the crash site. The incident took place on a busy corridor that links Harare to Beitbridge, with traffic conditions and weather variability often compounding risks for long-haul coaches on this route. The livery and markings identified the vehicle as a Munhenzva coach operating cross-border services between Zimbabwe and South Africa. Preliminary accounts suggest the driver applied emergency brakes shortly before the bus overturned near Chinyu Primary School, about 10 km outside Rutenga. While passenger counts and casualty figures remain unclear, police and emergency responders were deployed to the scene to coordinate medical evacuation, secure the area, and begin formal investigations into the cause of the crash. Officials say more information will be released once they confirm numbers at clinics and hospitals receiving the injured. In a brief statement, ZRP national spokesperson Commissioner Paul Nyathi confirmed the crash, describing it as a “fatal road traffic accident” and cautioning that the number of victims would be provided in due course as authorities worked through the scene and medical updates. The coach was reportedly travelling on the Harare–Cape Town route, highlighting the cross-border nature of the service and the potential complexity of passenger identification in the immediate aftermath of the incident. Local authorities and transport safety advocates often note the challenges on the Masvingo–Beitbridge corridor, including heavy freight traffic, varying road conditions, and the demands placed on drivers covering long distances with tight schedules. Investigators typically examine vehicle mechanical integrity, driver rest periods, weather conditions, and road surface quality to determine contributing factors. In this case, the reported emergency braking and subsequent loss of control will be part of the forensic analysis conducted by traffic experts and police crash investigators. Emergency services appealed to the public to give responders space to work and urged relatives of passengers to contact designated hotlines once they are published, rather than converging at the crash scene. Hospitals in the area are expected to coordinate with ZRP to confirm admissions and medical statuses, enabling authorities to compile an accurate casualty list for public release. Bus company representatives are also likely to assist with manifest verification and next-of-kin notifications once immediate priorities at the scene and in casualty care are addressed. Transport operators and safety bodies have repeatedly called for enhanced measures on busy national highways, including stricter enforcement of speed limits for buses, routine fatigue management for drivers, and continued road maintenance and safety signage improvements. While national road safety campaigns emphasize pre-trip inspections, defensive driving, and adherence to regulated rest periods, the high traffic volumes on key arteries like Masvingo–Beitbridge often leave little margin for error when emergencies arise. Authorities typically follow serious crashes with targeted inspections and compliance checks on fleet operators plying these routes. As the ZRP completes its initial work and the health facilities finalize admissions, families and communities await confirmation of the casualty toll. Police have pledged timely updates, and the bus company is expected to issue a statement once the situation stabilizes. For now, officials are urging patience, caution at the crash site, and respect for emergency procedures while responders continue lifesaving work and gather evidence for a comprehensive investigation. Update: There has been 4 death confirmed as of now

Alick Macheso’s surprise cornrows send Zimbabwe into a joyful online frenzy, sparking memes, cultural commentary, and a wholesome father-daughter reveal ( image source ) When Alick Macheso stepped on stage with freshly minted cornrows, the nation briefly forgot load-shedding schedules, Bybit scandals, and constitutional debates. For one glorious 24 hours, Zimbabwe united under one question: “Is Baba Shero… evolving?” In a plot twist worthy of a Sungura musical, Macheso arrived at a weekend gig sporting neat freehand braids — the kind of switch-up that makes even angels pause and whisper, “Hanzi who did his hair?” The video spread faster than free Wi-Fi in a kombi. For a moment, it seemed the cornrows had their own agency, their own PR manager, and maybe even their own National Arts Merit nomination. Some fans described them as “unexpected but majestic,” while others suspected the braids were a metaphor for the new economic season. Zimbabweans did not simply react — they performed. Timelines became theatres of creativity: One user declared, “Macheso looks like Snoop Dogg’s long-lost uncle from Chitungwiza.” Another insisted he was giving strong Bow Wow circa 2005 energy. A third joked that R. Kelly had sent a spiritual WhatsApp voice note requesting his vibes back. Memes mushroomed so fast even agriculture experts couldn’t explain the growth rate. There were photoshops, mock album covers, and a fake announcement claiming Macheso had joined a hip-hop group called MaGhetto Braiders International. It was chaos. It was joy. It was peak Zimbabwean humour. Just when the memes reached boiling point, Stacy Macheso emerged like a calm fairy godmother, typing a digital confession: “Guys, sorry I’m the one who plaited him.” And suddenly, the entire country switched from roasting to soft laughter. A father-daughter bonding moment — that’s what had sent the internet into a spiral. What began as a harmless pre-show experiment accidentally turned into a national comedy festival. Fans melted. Even critics softened, admitting, “Ah, zvimwe hazvina kuipa — it’s cute.” Sure, it’s just hair — but it’s also symbolic mischief. Macheso’s willingness to play, experiment, break routine, and spark conversation shows why he remains a cultural giant. Reinvention is a superpower, and Baba Shero clearly has a few chapters left in his sparkle. So here we are, living in the aftershock of Zimbabwe’s most wholesome viral moment of the year. If the cornrows boost ticket sales, don’t be shocked when Macheso launches a “Braid Like Baba Shero” national tour. And if not? At least we enjoyed a week where the country laughed together — all thanks to a legendary musician, a bold hairstyle, and a daughter who unknowingly unleashed a fairy-tale makeover upon us all.

Tiffany Haddish Goes Off follows Tiffany Haddish and her friends on a month-long journey across Africa, blending fashion, friendship, cultural exploration and vulnerable storytelling while spotlighting communities in Cape Town, Victoria Falls, Harare and Zanzibar ( image source ) Tiffany Haddish’s six-episode Peacock docuseries Tiffany Haddish Goes Off opens with a simple premise — four lifelong friends on a month-long journey through the continent — but the show quickly frames itself as more than a travelogue: it is a portrait of friendship, cultural curiosity and the tensions that come when a Hollywood star meets the realities of modern Africa. The series premieres on 13 November 2025, and the official trailer sets the tone: laughter and spectacle sit beside quieter scenes of reflection as Haddish and her friends move through Cape Town, Victoria Falls, Harare and Zanzibar, meeting local entrepreneurs and women-led initiatives along the way. The itinerary is deliberately varied, pairing high-profile tourist sites with community visits that foreground local voices rather than a celebrity gaze. Critics have noted that the show’s strength lies in its vulnerability. Reviewers say Haddish “lets down her guard,” allowing viewers to see a version of the comedian that is both brash and emotionally open — a mix that drives much of the series’ dramatic and comic tension. That vulnerability is not only personal: the series repeatedly returns to conversations about representation, asking what it means for Black American women to reconnect with ancestral lands while also confronting contemporary social and economic realities. “She fully lets down her guard and is extremely vulnerable on Tiffany Haddish Goes Off.” — Variety review. Producers and Haddish herself frame the trip as a healing journey. Episodes pair scenes of nightlife and fashion with visits to women entrepreneurs and community projects, creating a throughline that links style and commerce to empowerment. The show’s producers say they wanted to challenge reductive media narratives about Africa by showcasing both cosmopolitan cities and grassroots innovation — a balance that has already sparked debate about tone and intent in some corners of the press and online commentary. For viewers in Zimbabwe and across the continent, the Harare segment is likely to attract attention: local scenes and interactions with Zimbabwean creatives offer a rare mainstream platform for the city’s cultural life. The series also raises practical questions for content makers: how to film responsibly, how to compensate local partners fairly, and how to avoid extractive storytelling that uses local hardship as backdrop for celebrity transformation. From a production standpoint, the show is a case study in contemporary travel programming: it mixes glossy cinematography and fashion moments with documentary-style interviews and unscripted conflict among the cast. For Haddish, the series is a strategic pivot — a chance to reframe her public image through intimacy and cultural engagement rather than purely comedic performance. Whether audiences see Tiffany Haddish Goes Off as a joyful celebration, a flawed but earnest attempt at cross-cultural exchange, or something in between, the series has already succeeded at one thing: it has started a conversation about how celebrity travel shows can centre local agency while still delivering the entertainment value that drives streaming audiences.

Two elderly women in Mashonaland staged a naked protest over an unresolved land dispute, highlighting gaps in rural land governance and sparking renewed calls for quicker dispute resolution ( image source ) Two women identified in local reports as Gogo Anna Chick and Cecilia Chiremba removed their clothes in public to protest what they say is the encroachment of their residential stand by neighbour Bonface Nyangombe. The matter is reportedly before Chief Seke but remains unresolved, prompting the dramatic demonstration at the village level. The incident unfolded in a rural setting in Mashonaland, where land ownership is often contested and customary dispute mechanisms are the first port of call. Village sources told reporters the women staged the protest after attempts to secure a ruling from the local leadership and council offices failed to halt the alleged expansion of the neighbouring stand. The demonstration attracted neighbours and local councillors, and no arrests were reported in initial accounts. Local customary authorities and the Manyame Rural District Council are named in community accounts as having been involved in the paperwork and adjudication process. Residents allege that some council employees may have issued documents that complicated the ownership claims, prompting Gogo Chiremba to obtain her own proof of title before the protest, according to local reporting. Observers say the naked protest should be read in the context of a long tradition across southern Africa where public undressing is used as a form of moral censure and political expression, a tactic that aims to shame perceived wrongdoers and force rapid attention to grievances. One commentator has written that these protests are not just acts of desperation or shock tactics, noting their emotional and symbolic power in rural and urban settings alike. Legal and social-welfare experts caution that while such demonstrations draw attention, they also expose vulnerable protesters to stigma and potential exploitation. Human-rights advocates say authorities should treat the underlying land dispute as a civil matter requiring transparent investigation, mediation and, where necessary, formal legal remedies to prevent escalation and protect the dignity of elderly residents. The episode highlights broader governance gaps in rural land administration: delays in customary courts, contested documentation and limited access to formal legal channels can leave elderly landholders with few options beyond public protest. Community leaders told reporters they will reconvene customary hearings and seek to verify title documents to resolve the matter locally. Residents said they expect the chief to mediate within statutory and customary frameworks. The protest has prompted renewed calls for clearer, faster dispute resolution at ward and district level and for targeted support to elderly landholders who lack the resources to pursue protracted claims. Local officials have not yet issued a formal statement beyond confirming that the matter is under consideration by Chief Seke’s court.

Chinese-backed mining in Zimbabwe sparks public anger over environmental damage, forced evictions and alleged crimes, pressuring government to tighten oversight ( image source ) A growing wave of public anger over Chinese-backed mining projects has put Zimbabwe’s government under pressure to reconcile its investment strategy with mounting local grievances about environmental damage, forced evictions and alleged criminality linked to some foreign operators. Civil-society monitors say the scale and intensity of industrial activity — heavy earthmoving, blasting and unregulated tailings — have left visible scars on landscapes and livelihoods. The Centre for Natural Resource Governance and other watchdogs have documented how large-scale operations carve terraces into hillsides, alter waterways and leave communities exposed to dust, noise and contaminated water. Those environmental impacts are compounded, activists say, by weak enforcement of environmental laws and a perception that some companies operate with impunity, deepening resentment in mining districts. Tensions have occasionally spilled into violence and diplomatic friction. Recent reporting highlights incidents that include allegations of murder and other serious crimes involving Chinese employees or contractors, which have inflamed public sentiment and raised questions about policing and corporate accountability in remote mining zones. One widely reported flashpoint involved the fatal shooting of a Zimbabwean man by a Chinese national employed as a security supervisor, an episode that intensified calls for transparent investigations and local accountability. Specific operations have become focal points for protest. In eastern Zimbabwe, villagers around the Sino Africa Huijin project in Penhalonga have complained about blasting, dust and water contamination, saying the mine’s activities have damaged crops and threatened household water supplies — claims that local officials and the company have disputed while investigations proceed. Those community accounts have been amplified by journalists and rights groups, who argue that environmental assessments and meaningful community consultation were inadequate before operations expanded. “Armies of excavators and dump trucks carving deep, terraced ruts into and around hills, mountainsides and waterways are a common sight in Zimbabwe.” — Centre for Natural Resource Governance, as reported by ADF. The government faces a difficult policy choice. Mining is a major source of foreign investment and export revenue for Zimbabwe, but the political cost of perceived favoritism toward foreign firms is rising. Analysts say the state must strengthen environmental enforcement, ensure independent investigations of alleged crimes, and require companies to fund remediation and community development as conditions of their licences. Practical steps recommended by experts include immediate environmental audits of contentious sites, transparent public reporting of compliance checks, community-led grievance mechanisms and, where warranted, criminal investigations that meet international standards of impartiality. Donor agencies and multilateral partners could support technical audits and capacity building for regulators, but ultimately the credibility of any response will depend on consistent enforcement and visible remediation.

Walter Magaya faces five rape charges and 78 fraud counts, with prosecutors alleging one assault resulted in a child. Case draws major public scrutiny ( image source ) Prophetic Healing and Deliverance (PHD) Ministries founder Walter Magaya is facing serious criminal allegations after the National Prosecuting Authority (NPA) told a Harare court that one of the alleged sexual assaults resulted in the birth of a child, forming part of a case that includes multiple counts of rape and dozens of fraud charges. Prosecutors told the court the State’s case includes five counts of rape and 78 counts of fraud, and that investigators allege Magaya attempted to conceal offences by offering compensation to victims and coercing them to record statements denying assault. Magaya was arrested in an early-morning operation by a specialised Zimbabwe Republic Police (ZRP) unit and has since appeared in court. He was granted bail under conditions that included surrendering his passport and title deeds, and he denies the allegations, describing the charges as a “calculated ploy” by unnamed actors. Legal filings and media reports say prosecutors will present evidence that includes witness testimony and documentary material, with the NPA indicating it will pursue the matter through the criminal courts. The case has attracted intense public interest because of Magaya’s high profile and the scale of the allegations. “It is the State’s case that the accused person collected various amounts of money from his congregants after misrepresenting that he had stands for sale in different places.” — Prosecutor, as reported in court papers. Magaya’s legal troubles follow earlier controversies, including allegations of misrepresentation over academic credentials and public claims about healing powers, which have already dented his public standing and raised questions about governance in faith-based organisations. Legal experts say the combination of sexual-offence and fraud allegations will require careful evidentiary work, and that the presumption of innocence remains central as the courts consider the State’s case. The unfolding prosecution has implications for PHD Ministries’ operations and for donors and congregants who have supported Magaya’s projects. Civil-society groups and victim-support organisations have urged that investigations be thorough and victim-centred, while legal authorities stress the need for due process as the matter proceeds through the courts. The next court dates will determine the pace at which evidence is tested and whether additional charges or witnesses emerge; for now, the case remains a high-profile test of Zimbabwe’s criminal justice system and its handling of allegations against influential public figures.