Musician Blackamoor, who rose to fame in 2005 with Vic Marley’s song “Traffic Police” and “Mzimire”, asserts that female musicians in Malawi struggle to maintain their popularity compared to male artists, largely because of their responsibilities and the nature of some sponsorships that involve sexual favors.
In an interview with Malawi24, Blackamoor highlighted that female artists largely maintain their relevance when external obligations do not intervene. She emphasized the disparity in how male and female artists are treated by sponsors.
“When male artists appeal for sponsorship, it’s treated strictly as business. In contrast, many male sponsors overlook female artists and aim to exploit our bodies,” said Blackamoor, whose real name is Erica Maliketi.
Furthermore, she pointed out the additional challenges that come with personal commitments. Once female artists enter marriage, they often find it challenging to stay engaged in their careers.
“The time spent nursing during pregnancy and after giving birth makes it difficult to enter the studio. Malawians do not want to see a hiatus of two consecutive years in music, which can diminish our popularity,” she explained, likening the struggle to “climbing a mountain while carrying a heavy load”.
Despite these challenges, there are success stories that demonstrate resilience among female artists. Blackamoor acknowledged that some female artists, such as Wendy Harawa, have successfully navigated these obstacles. Harawa has been active in the music scene since around 2003-2004 and continues to thrive.
Expanding on the broader issue, Fatsani Kalonda, also known as Blak Jak, provided insights into the dynamics at play.
“Many female artists depend on males for their popularity. When these men get what they want and decide to leave, it spells the end for the female artists,” she stated, emphasizing the role of male interest in the industry.
Kalonda also pointed out critical concerns regarding talent versus exploitation.
“Another challenge is that some female artists lack sufficient talent and resort to using their bodies to rise to the top. However, this lack of true skill eventually catches up with them, leading to their disappearance.”
In contrast, a long-time music producer with nearly thirty years in the industry remarked on the evolving landscape for female artists.
While these issues were significant in the past, he noted that female artists today are actively seeking to maintain their popularity through various means.
“Everything takes time,” he noted, referencing how many female artists previously focused on gospel music to avoid being labeled negatively. Fortunately, as cultural attitudes have evolved, opportunities have improved for female artists in all genres.
In summary, while the road is fraught with challenges for female artists in Malawi, their determination, talent, and adaptability continue to shine through.
Notable female artists who lost their popularity due to various circumstances include Blackamoor Judagaga, Nyasa Queens, Rina, and many others.
