Harare – Zimbabwean hip hop star Stunner, born Desmond Chideme, has publicly voiced frustration after the National Arts Merit Awards (NAMA) invited fellow artist Ba Shupi to perform the hit track Godo, a song they collaborated on, without acknowledging him on stage.
Stunner took to social media to express his disappointment, arguing that as the writer of the track, he should have been invited to perform it, or at minimum properly credited by Ba Shupi during the live performance.
“But NAMA painofonera munhu asiri muridzi we song chiiko chinenge chichimboitika… Hamungaimbe song yangu ndichiri mupenyu on such a big platform then you make up some choreography musingazive the roots of that song… Guy couldn’t even shout out Stunner pasong yausina kana kunyora…” Stunner wrote. #Godo #TheLastRealG #RapperWekupedzisira #NAMA
At the heart of Stunner’s grievance is not merely ego but a deeper question around intellectual property rights and performance acknowledgement in Zimbabwe’s music sector, issues rooted in copyright law and industry practice.
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What Zimbabwean Copyright Law Says
Under Zimbabwe’s Copyright and Neighbouring Rights Act (Chapter 26:05), copyright in a musical work vests exclusively in the creator or rights holder, who “entitles its owner … to do or to authorise others to do” acts such as performing the work publicly. This legal protection exists without the need for registration the moment a work is created.
The law also recognises performance rights, meaning that a performer has the right to prevent unauthorised live exploitation of a musical performance.
That said, performing someone else’s song isn’t automatically illegal, so long as proper licences are in place and the performance is authorised. For example, live performances of copyrighted music at events often require an event licence facilitated by collective management organisations such as the Zimbabwe Music Rights Association (ZIMURA).
Local Industry Tensions Over Performance and Licensing
Zimbabwe’s music community has been embroiled in debate over cover-song licensing and performance rights. ZIMURA’s introduction of a licence fee for live bands performing copyrighted music sparked both pushback and confusion. Critics argue the cost is heavy for local artists, while the union defends licensed performance as legal and fair.
The Zimbabwe Musicians Union (ZIMU) emphasises that copyright law aims to balance creator protections with artistic expression.
Worldwide Practices Around Song Performance
Globally, intellectual property systems balance creator and user rights through performance rights organisations (PROs) and licensing bodies. In the United States and Europe, venues typically hold blanket licences allowing artists to perform songs, including collaborations and covers, so long as the underlying composition is licensed.
Even when performing a collaborator’s song live, moral rights and proper credit remain important in many jurisdictions. Artists often call out performances where original contributors aren’t acknowledged, especially on high-profile stages.
Where Stunner’s Complaint Lands
In Stunner’s case, opinions are divided. Some agree NAMA should have invited him or ensured Ba Shupi acknowledged him, while others note that collaborators may have performance rights if the show was licensed correctly.
Entertainment manager Diana Elisha Nherera weighed in, saying:
“It would have been lovely if NAMA brought you on… And does the collaborator not have performing rights on the song? Coz if yes, they may not have wronged you technically… And there is always moral rights for them to perform it too…”
Another commentator highlighted how global artists handle credits, noting that when stars perform collaborative hits, they usually shout out co-authors, a practice many feel NAMA should adopt locally.
Beyond Ego: Respecting Creators and IP
At its core, the debate reflects a larger issue in Zimbabwe’s creative sector: a need for clearer understanding and respect for intellectual property rights, combined with education about how performance rights work, both legally and culturally.
Copyright law isn’t just about money; it’s about recognising who created the work and protecting their ability to benefit from it, morally, professionally and financially.
As Zimbabwe’s music industry evolves, cases like Stunner’s may become key references in educating artists, event organisers and audiences about the intersection of creativity and law.
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