When the full story of the evolution of Zimbabwean television drama is written, Steven Musowe’s name will stand like a granite outcrop on the cultural landscape — firm, enduring, and unmistakable. For a quarter of a century, the Hurungwe-born writer, director, and visionary has crafted some of Zimbabwe’s most compelling television dramas. His works have not only entertained audiences but also taught lessons, launched careers, and cemented themselves in the country’s cultural memory.
Rooted in the everyday realities of ordinary people,Musowe’s stories grapple with family, betrayal, love, migration, and societal expectations, always with a rare blend of nuance and integrity. His remarkable journey took a decisive turn in 2001 when, at just 18 years old, his self-written and directed dramaKurauonebecame a national sensation. Written and filmed while he was still a student at Tafara 1 High School, the award-winning production — starring a cast of mostly first-time actors — gripped the nation.
It set a new benchmark for local storytelling and introduced Musowe as a bold new force in Zimbabwean television. This was an era before streaming and smartphones, long before Netflix, Showmax, DStv, TikTok, or Facebook reshaped how audiences consumed entertainment. Back then, television drama was the beating heart of community life.
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Families and neighbours gathered religiously around the TV for every new episode of beloved shows. Drama was not just a pastime — it was the glue that held communities together in laughter, debate, empathy, and tears. Coming after the era of great actors like Mukadota, Paraffin, and Mutirowafanza, Musowe belonged to a new generation of artists who carried the flame of Zimbabwean drama into the new millennium.
It was also the age of the Information Ministry’s 100% local content policy, which gave Zimbabwean creatives unprecedented airtime on national TV and radio. This bold directive sparked the rise of homegrown movements like Urban Grooves in music and opened space for fresh, daring writers and actors to bring Zimbabwean stories into the mainstream. A teenage Musowe was right at the forefront, contributing his creative genius with audacity and vision.
To date, he has produced over 15 dramas that have aired on national TV and other platforms, as well as six social-awareness plays tackling gender-based violence, child marriage, and national unity — many of which still air on ZBC. His insistence on real settings, raw talent, and authentic storytelling has launched many careers. Iconic characters like Siyoyo, Kurauone (Fidelis), and Zondi all rose under his Platinum Films banner.
Siyoyo, for example, later featured in projects with Naiza Boom, Mama Vee, and Dhafu, and even appeared in music videos like Mathias Mhere’s gospel hitVasiye Varonge. Kurauone himself — born Weakin Muza — was working at a butchery in Kamphinsa when Musowe, a regular customer, discovered him. What began as a casual conversation over meat turned into the launch of an acting career.
Born in the serene rural district of Hurungwe and later schooled in Sanyati, Chikurubi Primary, and Tafara 1 High School, Musowe grew up immersed in the works of Zimbabwe’s literary giants — Patrick Chakaipa, Giles Kuimba, Mordecai Hamutyinei, T.K. Tsodzo, J.C. Kumbirai, Father Emmanuel Ribeiro, and Aaron Chiundura Moyo, among others.
From their writings, he absorbed story, character, morality, and community — seeds that would eventually bloom in his own art. Inspired, he penned a novel and submitted it to Zimbabwe Publishing House. Editors were impressed, but rather than publish it immediately, they saw a greater opportunity: adapting the story for television.
Right there in their offices, they called ZBC to pitch the idea and even contacted Musowe’s headmaster to share the news that one of his pupils had written something extraordinary. ZBC greenlitKurauoneimmediately, with Dorothy Chidzawo appointed to supervise production. When ZBC’s Outside Broadcasting van rolled into Tafara 1 High, the school exploded with excitement.
The headmaster, Mr. Hombarume, excused Musowe from lessons so he could focus on filming, while assemblies celebrated the school’s new cultural ambassador. The set, however, was moved to Chikurubi Training Depot, where Musowe was living at the time, and rehearsals were done after hours and weekends.
This made it difficult for Tafara students to participate, and in the end, only Musowe himself from the school featured. Although his play shared a title with Ignatius Mabasa’s novelKurauone, Musowe’s work was an entirely different story — a gritty tale of a boy abandoned by his mother, tormented by a harsh grandmother, and despised by cousins for his rural roots. Raw and unapologetic, it announced Musowe’s trademark style: real, emotional, and true.
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