Winky D‘s latest offering, Eureka which was launched on New Year’s Eve at the Harare International Conference Centre (HICC) reflects social rot in Zimbabwe where corruption is rampant, Brezh Malaba says.
Malaba, a journalist, said Winky D’s Ibotso portrays Zimbabwe as a long-decayed society in which the residents naively hope things will miraculously change for the better. Pindula News presents Malaba’s analysis of Winky D’s project:
Winky D’s lyrical mastery is the stuff of legend. But in his new anthemic hit, Ibotso, the Gafa reminds us why his amazing artistry is without peer. Winky D is the incorruptible voice of a shattered generation: poverty-stricken citizens who have no jobs, no dignity, no hope.
Zimbabwe is a crime scene. Corruption-induced poverty has unleashed devastating poverty on ghetto youths. Hunger has ensnared naive girls into a life of debauchery. There are artistes who conveniently choose to ignore these stark realities. Winky D has set himself apart.
In Ibotso, he lays bare the ugly underbelly of a long-decayed society which foolishly hides beneath a threadbare cloak of self-denial, in the forlorn hope of swiftly waking up from a prolonged nightmare. Where delusion meets deceit, victims abound.
The Gafa chants: “Vanotora zvevapfupi nekureba”. What comes next is epic. Holy 10, his eager apprentice, then intones: “Sekutamba sekuseka”. From that point on, the flow is infectious, irresistible, delectable.
Winky D is fully alive to the dangers of singing truth to power. Deploying idiom, he pleads: “I’m only a singer. I wield neither spear nor sword; please spare my life.” Echoes of George Orwell: “In a time of universal deceit, telling the truth is a revolutionary act.”
Winky D is among a few Zimbabwean artistes who have openly, through their projects, condemned maladministration and the shrinking democratic space in the country.