IN yesterday’s edition, we carried the story of how the spirited debate over what truly constitutes Jiti music. We never suggested, in any way whatsoever, that Baba Harare is not a good artist. There is no question about the fact that he is a good artist.
To then accuse us, as some people were saying, that we were on a mission to try and destroy Baba Harare is just out of order. Jiti occupies a special place in Zimbabwean music. It is a genre built on lively guitar-driven rhythms, infectious beats and energetic dancing that have entertained audiences for decades.
For many traditionalists, these characteristics define what Jiti is, and they believe they should not be diluted simply because music evolves with time. Yet history teaches us that no musical genre remains exactly the same forever. Every generation of artists introduces fresh ideas, new instruments and modern production techniques while drawing inspiration from those who came before.
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Genres that refuse to evolve often struggle to attract younger audiences. What keeps them alive is their ability to adapt without losing their cultural soul. This is where Baba Harare enters the conversation.
Since launching his solo career, he has built a reputation as one of Zimbabwe’s most energetic performers. His music is driven by lively guitars, upbeat rhythms and dance routines that encourage audiences to get on their feet. His concerts are celebrated for their energy, while many of his songs have become household favourites across the country. His fans argue that these qualities place him firmly within the Jiti tradition.
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