Mnangagwa Praise Singer Chief Hwenje Resurfaces After Death Rumours – Eduzim News

By Showbiz Reporter-The Zanu PF apologist and praise singer Admire Sanyanga Sibanda, better known as Chief Hwenje, has resurfaced after weeks of swirling rumours about his death.  

Known for his songs glorifying President Emmerson Mnangagwa, Chief Hwenje emerged in public this week alongside Mnangagwa’s hitman, Owen Ncube, dispelling claims that he had succumbed to cancer.

Last month, Hwenje announced his cancer diagnosis, sparking a public outcry against Zanu PF for allegedly exploiting him.

Presidential spokesperson George Charamba quickly announced that the ruling party had flown Hwenje to South Africa for treatment. 

However, the absence of any photographic evidence of his treatment fueled speculation that the singer had been abandoned.

On Friday, Hwenje shared a post on X (formerly Twitter), declaring himself “fit and strong” after a meeting with Midlands Provincial Affairs Minister Owen Ncube. He also performed at the commissioning of the Shurugwi-Mhandamabwe Road, signaling his return to the public eye.

Chief Hwenje shot to fame after Zimbabwe’s 2017 military coup, which ended Robert Mugabe’s 37-year rule. His praise songs, such as Garwe Rauya (“The Crocodile Has Come”), became anthems for Mnangagwa’s loyalists. 

The artist earned a reputation as a zealous bootlicker, crafting lyrics that hero-worshipped Mnangagwa and the ruling party’s agenda.

Hwenje’s plight is reminiscent of a troubling pattern in Zanu PF’s history. 

The ruling party has long co-opted musicians to amplify its propaganda, only to discard them when their usefulness wanes.

During the early 2000s, Last Chiyangwa, popularly known as Tambaoga, gained notoriety for his song Rambai Makashinga (“Remain Resilient”), which justified state-sanctioned land seizures. 

Once a celebrated regime voice, Tambaoga now lives in destitution, a cautionary tale of the perils of aligning too closely with Zanu PF.

Similarly, the late Dickson Chingaira, affectionately known as Cde Chinx, was a revolutionary icon who used music to bolster Zanu PF’s liberation war rhetoric. 

Despite his loyalty, Chinx lived his final years in relative poverty, with the party offering little support for his medical bills or upkeep.

Chief Hwenje’s reappearance may silence rumours of his death, but it reignites questions about Zanu PF’s exploitation of loyal artists. 

How long will Hwenje remain in the party’s favour before meeting the same fate as Tambaoga and Cde Chinx?

While Hwenje may enjoy public performances and state-backed appearances, his story is a poignant reminder of the cost of tying one’s art to a political machine notorious for using and discarding its propaganda tools.

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