Ngaibake
A visual art point of view.
By Nyadzombe Nyampenza
As the maestro steps into the crowd of young revelers with gusto, a young lady covers her mouth in shock. The maestro is wearing a sunny shirt that radiates optimism. Flexing like Mayweather he rallies the youths into a frenzy.
At first the presence of women seems ornamental. The bias is quickly corrected when the protagonist steps into the spotlight. With confidence she takes off her dark glasses, and sizes up the crowd. When she dances her body shakes fit to start a whirlwind.
Usually the female star in a music video would be gyrating in an expensive and sexy dress. In Ngaibake she wears an ill-fitting combination of maids’ uniform and prison garb. While she’s having fun her nemesis arrives dressed to the nines. There is a stalemate. People expect the women to tear each other apart. Conveniently the maestro steps in and quashes the beef. The party continues. Nemesis gets to join the fun, dropping it like it’s hot. Everyone is happy.
The visuals for the song Ngaibake by Freeman featuring Alick Macheso shatter stereotypes at several levels. It was shot in a rustic hall with wooden panels. The set is staged to represent the dance floor at a nightclub. There are no shiny mirrors, strobe lights or glitzy disco balls. The patrons are not seen pouring out expensive bottles of liquor. No one arrives in a sports car. Artists from different generations and musical genres collaborate. And women get to play a tangible role.
The song Ngaibake calls on people to stop fighting. It encourages adversaries to reconcile and have fun together. The video makes an explicit statement. In spite of all manufactured beefs, maZimba just want to have a great time.
