Gary Tight and Dino Mudondo Clash Over Song Ownership at NAMA
The aftermath of the National Arts Merit Awards (NAMA) has ignited a heated debate in Zimbabwe’s music industry, highlighting tensions between legacy, family ties, and song ownership. At the centre of the controversy is Dino Mudondo, who publicly responded to Gary, son of sungura star Willom Tight, following social media posts that challenged Dino and the awards organisers. The dispute arose after Gary claimed that his father’s part was muted during Dino’s performance of the hit song Chirangano Chedu, framing it as both a personal and professional slight. Dino, however, rejected the accusations, asserting full ownership of the song and the authority to perform it as he sees fit. The clash has since sparked divided opinions online, with fans and industry insiders weighing in on questions of respect, legacy, and music rights.
Dino Mudondo clarified that while he respects Willom Tight, Chirangano Chedu is legally and creatively his song. He emphasised that all featured artists, including Willom, Roki, and Sarah Mwayera, were properly compensated with flat fees for their contributions. Dino stressed that no one, including Gary, can dictate when or how he performs the song, underscoring his control over its use. He also highlighted that questions about song ownership should be directed to the Zimbabwe Music Rights Association (ZIMURA), explaining that proper channels exist for understanding music composition and collaboration rights. His statement reinforced the idea that respect for artists does not negate the legal and creative rights attached to a work.
Despite the firm stance, Dino continued to affirm his lifelong respect for Willom Tight. He pointed out that he permits Willom to perform his songs freely during shows, maintaining a professional and personal courtesy. Dino reminded Gary that respect is a fundamental principle, especially in the context of performing music created by others. He quoted a cultural proverb from the late John Chibadura, stressing that parents must guide their children so they understand the rules of music and collaboration as they grow. This reminder highlights the balance between legacy and creative authority, a dynamic that often surfaces in Zimbabwe’s music industry.
Gary later moderated his tone, posting a message congratulating NAMA while acknowledging that any mistakes involving his father should be overlooked. However, this gesture did little to ease tensions, as fans on social media quickly took sides, debating both respect for legacy and the importance of ownership rights. The online discourse reflected broader industry challenges, where generational clashes and differing interpretations of respect can create public disagreements. While Gary’s post hinted at reconciliation, Dino’s previous statements left a clear impression that ownership and authority over one’s creations remain non-negotiable.
The NAMA fallout illustrates a critical lesson for Zimbabwean musicians: respect for veteran artists is vital, but creative ownership dictates control in the music business. Dino Mudondo’s response underscores the importance of clarity in collaborations, proper compensation, and adherence to legal and professional standards. At the same time, the incident reveals the delicate balance between family ties, cultural respect, and artistic rights in an industry that often mixes legacy with modern claims. As the debate continues, Chirangano Chedu has become more than a song; it is a symbol of how ownership, respect, and music governance intersect in Zimbabwe’s evolving music landscape.
