HARARE – The National Arts Merit Awards (NAMA) ceremony, held recently in Harare, was a night of glitz, glamour, and palpable tension. While some celebrated triumphant victories, others, like the popular social media sensation Comic Elder, found themselves walking away empty-handed, sparking renewed debate about the integrity and fairness of Zimbabwe’s premier arts accolades. This year’s event, the 24th edition running under the theme “Fearless Creativity,” saw a robust response with 2,382 submissions, yet it failed to quell the persistent murmurs of dissatisfaction that have long shadowed the awards.
Comic Elder, whose real name is Leroy Tadiwanashe Zaware, a 23-year-old comedian born in rural Murewa and raised in Harare, has rapidly ascended to prominence in Zimbabwe’s entertainment landscape. Known for his unique brand of humour, Zaware has captivated audiences and even received an award from President Mnangagwa at the National Youth Symposium in October 2025, where he was gifted a double cab vehicle. His journey from humble beginnings to a national treasure has been widely celebrated.
However, at the NAMA ceremony, his popularity did not translate into an award. He was nominated in the Outstanding Social Media Skits category, where he competed against Sean Khoza, also known as Code Red Studios – Tokoloshi, and Ronald Chimombe, known as Thugga Thugga. Ultimately, Tokoloshi scooped the award. Comic Elder was also a nominee for The People’s Choice Award, a highly coveted category, alongside music heavyweights Winky D, Jah Prayzah, Ritz, and Prince Chigwida. This award, too, eluded him, going instead to Winky D, who secured his 10th victory in the category, extending a record-breaking run that began in 2011.
The disappointment felt by Comic Elder’s fans was a microcosm of a broader sentiment of unease that permeated the event. While the organisers, Scarlet Studios in partnership with Events Evolution, were lauded for their meticulous preparations, stunning red carpet, and seamless production—elements that restored a sense of prestige to the awards—the winners’ podium itself became a focal point of contention. Many attendees and viewers expressed bewilderment, elation, and even shock at some of the outcomes, with social media platforms buzzing with debates and hot takes.
One of the most significant points of contention revolved around the music categories. Despite the NAMA’s broad coverage of all arts genres, the absence of Sungura nominations and performances was glaring. Sungura, a genre with a massive following in Zimbabwe, particularly among certain demographics, was conspicuously missing from the celebrations. This omission led to questions about the genre’s standing and whether it was being overlooked by the NAMA organisers. The debate extended to the highly anticipated
Song of the Year category, where many expected Jah Prayzah’s “Ruzhowa” to clinch the award.
“Ruzhowa” had garnered 6.5 million views in nine months, a testament to Jah Prayzah’s enduring popularity and lyrical skill. However, the award ultimately went to Nutty O’s “Too Much,” which, despite accumulating 5.1 million views in just six months, was perceived by some as a surprising choice given the widespread anticipation for “Ruzhowa.” Nisha Ts’s “Admire Kadembo,” with 6.4 million views in 11 months, also presented a strong challenge, highlighting the intense competition in this category. The decision to award “Too Much” sparked considerable debate among music critics and fans, who questioned the criteria used for judging, particularly when considering the perceived quality versus popular appeal.
Amidst these debates, Nisha Ts emerged as the Outstanding Female Artist, a victory she openly admitted was unexpected. “I honestly didn’t expect this,” she stated, adding, “I came here believing but not knowing that tonight would change my life like this.” Her acceptance speech was a poignant moment, as she invited her grandmother, who had raised and supported her through difficult times, onto the stage. “This woman is my backbone,” Nisha Ts declared. “She looked after me when no one else could. She prayed for me when I had nothing. I want to thank her. We are here now and God made this happen. Since day one, my grandmother believed in me. This award is for her, my family, fans and producers.”
This heartfelt tribute resonated deeply with the audience, many of whom rose to their feet in applause, acknowledging not just the artist’s talent but also the profound influence of her family. Nisha Ts also extended her gratitude to Tinashe Mutarisi for nurturing her talent, and to various producers for their contributions to her music, including Jamal No Limits, Money Cure, and Ghost Magician. She also thanked Jah Prayzah for his mentorship and advice.
Other notable winners included Atenda Chinx, who received the Outstanding Breakthrough Artist award, and Nitefreak, honoured as Outstanding Artist in the Diaspora. The NAMA, established by the National Arts Council of Zimbabwe (NACZ) in 2002, aims to recognise and celebrate outstanding achievements within the Zimbabwean arts and culture sector, serving as a benchmark for artistic excellence. However, the awards have not been without their share of controversies throughout their history. Past editions have faced criticism regarding transparency in the nomination process, with some artists and fans expressing uncertainty about the criteria used for selection. There have also been instances of alleged mismanagement and lack of integrity within arts organisations, leading to broader discussions about corruption and accountability within the Zimbabwean arts industry.
For instance, the Zimbabwe Music Rights Association (ZIMURA) has faced accusations of mismanagement and lack of transparency, with artists clashing with the organisation over alleged financial irregularities. Such incidents contribute to a climate of distrust and raise questions about the equitable distribution of resources and recognition within the arts sector. The NAMA, as a prominent platform, often becomes a lightning rod for these underlying issues, with the selection of winners and the overall conduct of the ceremony scrutinised for any perceived biases or shortcomings. The debate surrounding the NAMA winners, particularly the perceived snub of popular artists or genres, highlights the ongoing tension between artistic merit, commercial success, and public appeal. While the organisers strive for a balance, the subjective nature of art often leads to differing opinions and passionate discussions.
The case of Comic Elder, a widely recognised and celebrated figure in Zimbabwean social media comedy, walking away without an award, serves as a potent symbol of these ongoing debates. His popularity, evidenced by his presidential recognition and significant online following, did not guarantee him a NAMA, leading some to question whether the awards truly reflect the pulse of the nation’s artistic landscape. The sentiment that clowning and content creation are worlds apart, as one publication noted, may hold some truth, but it also underscores the evolving nature of art and entertainment in the digital age. As social media continues to shape cultural trends and produce new forms of artistic expression, award bodies like NAMA face the challenge of adapting their criteria to acknowledge these new realities.
Ultimately, the 24th NAMA ceremony was a night of contradictions. It showcased the immense talent and creativity within Zimbabwe’s arts scene while simultaneously exposing the fault lines of a system grappling with issues of representation, transparency, and the ever-shifting definition of artistic excellence. The debates and discussions that have emerged in the aftermath of the awards are not merely about individual wins and losses; they are about the future of Zimbabwean arts and the kind of creative landscape the nation wants to foster. As the dust settles, the hope remains that these conversations will lead to meaningful dialogue and positive change, ensuring that future NAMA ceremonies are not only a celebration of artistic achievement but also a true reflection of the diverse and vibrant cultural tapestry of Zimbabwe.
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