By News of The South Showbiz Reporter
HARARE – Prominent Zimbabwean arts journalist and cultural critic Plot Mhako has sparked a firestorm of debate across social media, accusing local corporations of suffering from a “serious inferiority complex” regarding their preference for South African talent over homegrown artists.
In a scathing critique shared on his Facebook page, Mhako challenged Zimbabwean businesses—specifically those whose primary consumer base is local—to explain why they consistently prioritize foreign acts for major sponsorships and events while treating local stars as “opening acts.”
The “Red Carpet” Disparity
Mhako’s central argument highlights a glaring lack of reciprocity in the regional entertainment industry. He pointed out that major South African telecommunications giants, such as MTN or Vodacom, would rarely, if ever, headline a Zimbabwean artist for a major South African festival.
”We constantly roll out the red carpet for foreign acts, even importing presenters while sidelining our own talent,” Mhako wrote. “We treat foreign as premium and local as second best.”
The journalist noted that while South African artists—some of whom he claims are “lip-syncing one-hit wonders”—receive premium hospitality, headline slots, and full technical support, Zimbabwean artists are often “paid peanuts” and denied the same resources.
Addressing the common corporate defense that South African artists have a higher market “pull,” Mhako argued that demand is not organic but manufactured. He contends that the dominance of South African music (Amapiano, in particular) in Zimbabwe is a result of what local media and companies choose to promote.
Exposure: Audiences consume what they are consistently exposed to.
Investment: South Africa invests in its own talent, creating stars that are eventually “exported” to neighbors like Zimbabwe.
Media Airtime: Mhako criticized local media for dedicating a disproportionate amount of airtime to foreign content, making it impossible for local talent to compete on a level playing field.
A Call for Infrastructure and Trust
The critique extends beyond the stage and into the very foundations of the industry. Mhako issued a direct challenge to Zimbabwean companies to:
Rethink Event Strategies: Invest in local lineups with the same “trust, confidence, and resources” afforded to foreigners.
Develop Infrastructure: He called for the construction of proper concert venues funded by the local private sector to foster talent development.
Back New Talent: He dismissed the notion that local talent is “mediocre,” insisting that Zimbabwe has a deep pool of artists beyond the few familiar names that dominate the circuit.
”Chasing Money Over Culture”
The sentiment shared by many following Mhako’s post is that Zimbabwean companies are chasing short-term “clout” and quick ticket sales rather than engaging in long-term brand building that empowers the local creative economy.
As the conversation gains momentum, the ball is now in the court of Zimbabwe’s corporate giants. The question remains: Will they continue to import “premium” culture, or will they begin to manufacture it at home?
”The talent is there,” Mhako concluded. “We cannot keep complaining about a lack of stars while refusing to consistently back the ones we already have.”
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