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Village Rhapsody: Holy Ten: A talent eclipsed by his ego

Holy Ten’s talent in hip-hop verses flow with an effortless meticulousness.

Controversial rapper and songwriter Mukudzeyi Chitsama, popularly known as Holy Ten or Mujaya, has the potential to be one of the best Zimbabwean musicians.

His popular chant Hoyoo! is ghetto street lingo, which is used to hype someone.

Mujaya is part of Harare’s hip-hop scene, which thumps with raw energy.

The capital city is a breeding ground for fresh talent.

In the middle of the rising stars, Holy Ten stands out — a paradox of undeniable skill and an exaggerated ego that hinders his dramatic rise.

Holy Ten’s talent in hip-hop verses flow with an effortless meticulousness.

His diction crackles with fun, his wordplay a dazzling display of linguistic skill.

Tracks like his recent song Banga and Ma Chills paint vivid portraits of life in the high-density suburbs, resonating with a generation yearning for a voice.

The track Ma Chills when he speaks against men known as “Blessers” who use their economic muscle to lure girls into immoral conduct reveals how he is indeed the leader of the youth and the speaker of the truth.

Today, he is a social commentator hawking fire about societal ills, the next, a smooth storyteller weaving tales of love and hustle.

“Vanganivanomuketa Gamu pakati pie” (How many people know Gamu in between her legs).

Holy Ten aptly captured what some men go through in the name of love in his song Gamu.

However, talent alone cannot buy loyalty in the ruthless world of hip-hop.

Holy Ten’s swagger, once charming, has transformed into an egotism that alienates potential collaborators.

A classic example is when he soiled his song Ibotso with Winky D, he could have earned more fans from that collaboration.

Holy Ten is a talented young artist who needs a good manager.

He is that hip-hop artist who can ride the beat effortlessly, his delivery smooth and captivating.

He can switch styles, adapt to different instrumentals, and make even simple lyrics sound impactful.

But his ego will soil all these efforts.

He boasts of being better than all artists in Zimbabwe yet turning down lucrative features.

Maybe he is convinced his solo act is enough.

The self-promotion game, a crucial aspect of modern hip-hop, seems to be anathema to Holy Ten.

While his peers might want to work with him, he remains frustratingly difficult to work with.

He thinks he is the god of hip-hop.

Even the biggest rappers out there hardly come to the public to say they are the best.

It’s about connecting with your audience.

This egocentric character might destroy his career.

The tragedy lies in Holy Ten’s undeniable potential.

He possesses the raw ability to become a legend, an ambassador for Harare’s vibrant hip-hop scene.

Yet, his pride threatens to be his undoing.

Will he learn to collaborate and be humble, to leverage his talent for collective success?

Or will his self-assuredness relegate him to the status of a talented footnote, a rapper who could have been great?

Only time will tell if Mujaya can find the balance between brilliance and humility, but one thing’s for sure: Harare’s hip-hop scene waits with bated breath.


  • Evans Mathanda is a journalist and development practitioner, who writes in his capacity. For feedback email: evanngoe@gmail.com or call 0719770038 and X @EvansMathanda19

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