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It is a translation of 19th-century South African schoolteacher Enoch Sontonga's popular African hymn "Nkosi Sikelel' iAfrika" into Zimbabwe's native Shona and Ndebele languages. [2] [3] The song was first translated into Shona in the early 20th century and was initially popular with all sections of society in Southern Rhodesia.
Because Zimbabwe has 16 national languages, the lyrics of the original Shona song were translated into the other 15 national languages as part of the 2013 constitutional reforms. The official texts were laid out in the 2013 Constitution, however the final English text in the Constitution varied from the more poetic and metrical version that had ...
The album features 17 compositions: seven original songs, nine remixes and instrumental theme. Pritam composed the soundtrack which featured lyrics written by Sameer, and the remix versions were produced by DJ Suketu. The soundtrack was released under the Tips music label on 25 January 2008. [1] The album received positive reviews from critics.
South Africa, where the song comes from, uses only some of the words, Zambia uses only the tune and other countries have now abandoned its use. [2] "Mungu ibariki Afrika" was inspired by the African National Congress's (ANC) use of "Nkosi Sikelel' iAfrika" ("God Bless Africa") as its party song after its use at Ohlange High School. The ANC ...
Iran's President Ebrahim Raisi was welcomed in Zimbabwe on Thursday by people singing songs criticizing the West as he made his last stop on a three-nation Africa trip aimed at finding new trade ...
Leonard Tazvivinga Dembo, a.k.a Kwangwari Gwaindepi also Musoro We Nyoka (born 29 December 1959 in Chivi – 9 April 1996), was a Zimbabwean guitar-band musician and member of the bands Barura Express and The Outsiders. [1]
It's hard not to chant along when John Mellencamp spells out “R.O.C.K. In The U.S.A.” Mellencamp name-drops some of the greatest American rockers in this upbeat tune.
Zimdancehall started in the late 1980s with the rising up of local sound systems.The popularity of these recordings led to more studio recordings. By the end of the 1990s, a number of local youths were recording singles and albums independently and reggae bands like Cruxial Mix (Trevor Hall) and Black Roots holding regular weekly shows to showcase artists.