The article discusses the aftermath of Zimbabwe's disputed elections on August 23-24, where Emmerson Mnangagwa secured a second term. The SADC initially stated the elections fell short of democratic standards, but later, a misquote in state-controlled media suggested SADC endorsed the elections. The article highlights the Zimbabwean government's propaganda efforts to misrepresent SADC's stance and the regional bloc's historical role in resolving Zimbabwe's democratic crises. It also covers the opposition leader Nelson Chamisa's refusal to recognize Mnangagwa's legitimacy and his demands for a transitional authority to address electoral issues. The article further explores the role of the Citizens Coalition for Change (CCC), voter suppression, intimidation tactics, and the broader implications of liberation-era political alliances within SADC on Zimbabwe's democracy.

The article discusses the political turmoil in Zimbabwe, focusing on the recent recalls of 15 opposition Members of Parliament by the Speaker of Parliament, Jacob Mudenda, based on a disputed letter. The opposition party, Citizens Coalition for Change (CCC), led by Nelson Chamisa, has been at odds with the ruling party, Zimbabwe African National Union-Patriotic Front (ZANU-PF), which has been accused of orchestrating the recalls to maintain power and potentially amend the constitution to extend the presidential term limit. The recalls have led to a constitutional crisis, with CCC disengaging from Parliament and local government to protest. The article also touches on the historical context of Zimbabwe's politics, the ethnic disenfranchisement in Matebeleland, and the implications of the recall clause in Zimbabwe's constitution. It suggests that the recall clause, originally intended for internal party discipline, has been misused to undermine opposition parties and democracy in Zimbabwe.

The article reports on the activities during African Liberation Week, particularly focusing on the 'Borderless Africa' campaign organized by Africans Rising for Justice, Peace and Dignity and its local affiliate We Build. The campaign included a protest march in Buea, Cameroon, and various activities aimed at promoting a vision of a unified Africa without borders. The campaign's goal is to encourage the ratification of the African Union's Free Movement Protocol, which would allow visa-free travel for Africans within the continent. Despite not meeting the target of 16 ratifications by May 25, 2023, grassroots efforts and government engagement continue. The article also highlights similar initiatives in other African countries, such as Tanzania, where the Voice of Youth Tanzania (VOYOTA) organized a peaceful protest and community dialogue to support the cause.

The article is an in-depth interview with Paradzai Mesi, the lead of the Zimbabwean band Njerama Boys. It traces the band's journey from their humble beginnings with homemade guitars in Muzarabani to becoming a significant name in the Zimbabwean music scene, recording 11 albums between 2000 and 2019. Mesi discusses the challenges they faced, including underpromotion and financial struggles, and the band's evolution in musical style influenced by various artists. The interview also touches on Mesi's personal struggles and the impact of his music, which often reflects his life experiences. The band's discography is listed, showcasing their prolific output and the evolution of their sound over nearly two decades.

The article discusses the career and influence of Zimdancehall artist Winky D, born Wallace Chirumiko. It highlights his ability to maintain privacy and his philosophy of silence, which has characterized his reign in the Zimdancehall genre. The article delves into Winky D's latest album, 'EUREKA EUREKA', which breaks his silence and addresses the commercialization and political co-opting of Zimdancehall. It suggests that Winky D is using his music to restore the genre to its street roots and make a statement against the culture capture by politicians and businessmen. The article also touches on the history of Zimdancehall, Winky D's previous albums, and his strategic silences between releases. It concludes by positioning Winky D as a significant artist who is continuing the legacy of other influential Zimbabwean musicians by using his platform to address socio-political issues.

The article reports on the assassination of Swazi human rights lawyer and democracy advocate Thulani Maseko, who was shot dead in his home by unidentified gunmen. The killing has been widely condemned by various human rights organizations and defenders across East and Southern Africa, who are calling for justice and accountability from the Eswatini government and King Mswati III. Maseko was known for his activism and legal challenges against the monarchy, including his imprisonment for contempt of court and his lawsuit against the king for changing the country's name. The article highlights the climate of repression in Eswatini and the broader regional response to Maseko's death, with calls for action from the African Union and SADC to address human rights abuses and support democratic reforms in the country.

The article reflects on the life and career of Alick Macheso, a renowned Zimbabwean Sungura musician. It narrates how Macheso, known for his humble beginnings and guitar skills, rose to fame and became a cultural icon in Zimbabwe. The piece discusses the challenges and criticisms he faced, including the skepticism of his success compared to other legends like Oliver Mtukudzi and Thomas Mapfumo. It also touches on the evolution of Macheso's music, his impact on the genre of Sungura, and the public's changing perception of his work over the years. The article provides a critical analysis of Macheso's recent albums and his continued influence on the music scene, despite the shifts in public taste and the music industry.

The article discusses the connection between African heritage and mainstream rap, highlighting the recent visit of Kendrick Lamar to Ghana as part of the country's tourism and repatriation campaign, Beyond the Return. It reflects on the Pan-Africanist themes in rap music, citing examples from artists like Nas, Lauryn Hill, and Jidenna, who have expressed a longing for Africa as a place of peace and belonging, contrasting with the discrimination faced by black people in the U.S. The article also touches on the historical and cultural ties between Africa and its diaspora, the portrayal of Africa in music, and the need for a structural as well as spiritual Pan-Africanism. It concludes by considering the impact of Kendrick Lamar's previous visit to South Africa on his music and the potential influence of his current visit to Ghana on future works.

The article discusses the film 'Sorry to Bother You' directed by Boots Riley, focusing on its social and political commentary. It highlights how the film, through its protagonist Cassius Green, played by Lakeith Stanfield, explores themes of capitalism, consumerism, and labor exploitation. The film is noted for avoiding direct references to President Donald Trump, instead delving into deeper issues such as the commodification of protest and the spectacle of resistance. The article also touches on the concept of the 'white voice' used in telemarketing as a metaphor for broader societal issues. Additionally, the piece mentions how modern corporations, like those depicted in the film, engage in poverty porn and align themselves with social causes without making structural changes. The article concludes by acknowledging Riley's political ambitions and the film's unique blend of genres, which earned it an Independent Spirit award in 2019.

The article by Onai Mushava explores the tension between Zimbabwean writers Dambudzo Marechera and Aaron Chiundura Moyo in the context of the broader language and cultural wars in post-independence Zimbabwe. Marechera, known for his extreme moods and controversial opinions, often clashed with Moyo, a self-taught Shona writer. The article delves into the dynamics of the literary scene during the 1980s, where English-language writers, many of whom were educated abroad, dominated the literary scene in Harare, sidelining indigenous language writers. The Zimbabwe International Book Fair and the Zimbabwe Writers Association, which communicated primarily in English, further marginalized Shona and Ndebele writers, leading to the formation of the Zimbabwe African Languages Writers Association. The article also touches on the conflicted legacy of the Literature Bureau, which was both praised for promoting indigenous languages and criticized as an arm of Rhodesian censorship. Marechera's disdain for the Literature Bureau and Shona novels is highlighted, as well as the false divides within the Zimbabwean literary community, including between writers who remained in Rhodesia and those in the diaspora.