The Futurist Imaginaries of the Zimbabwean Conditions in Winky D’s Njema

Abstract

The chapter analyses Winky D’s 2019 album, Njema, drawing on the Afrofuturist and science-fiction nuances reflected in the album cover and selected songs, ‘Area 51’, ‘Njema’ and ‘Ijipita’, to determine its significance in complementing and expanding the overarching reggae and dancehall music trope of resistance against various forms of social, political and economic limitations. The chapter also unpacks the above-noted futurist qualities in relation to the creative complexities in Winky D’s album and what it says about the location of the genre within global dancehall and Afrofuturist music. The chapter argues that Winky D’s Njema, takes Zimdancehall to another level in the history of the genre’s creativity and thematic focus on social conscientisation and resistance against domination, by incorporating futurist aesthetics to transport the audience into an alternative world, currently foreign to Zimbabweans, which is synonymous with freedom, excellence in scientific and cultural production, connectedness with matters global-magical-and real, access to economic opportunities and the enjoyment of fulfilling lives. The chapter argues further that, Winky D continues with his winner trope through reference to the signature name “Gafa” that morphs into “Chi (the) Extra-terrestrial”, to affirm the need for survival and resilience, which he inflects with the futurist aesthetics, to urge the audience into thinking about their present realities in the post-Mugabe era and map the kind of agencies that are needed to deliver the nation.