“Mwana waStembeni”: The Ambivalent Representation of Women in Soul Jah Love’s Music

“Mwana waStembeni” is one amongst many of the late Soul Jah Love’s (real name, Soul Musaka) appellations. “Mwana waStembeni”, which is Shona for “Child of Stembeni”, is a significant badge of identity derived from the name of Soul Jah Love’s late mother, Stembeni Musaka, whom he acknowledges and integrates into his music. It is also through this reference to his mother that Soul Jah love valorises the role played by women as mothers. Drawing on the appellation “Mwana waStembeni” as a starting point, this chapter explores the ambivalent representation of women in Soul Jah Love’s music. I draw on some of his misogynistic and aggressive lyrics, and his upholding of stereotypes related to femininity and gendered norms that contradict his valorisation of the indispensable role played by his mother and by women as mothers, as well as his appreciation and romantic representation of female lovers in some of his songs. I contend that there are resonances between these ambivalent representations of women and the complexities and lack of coherence related to his own persona, background and life. Bringing into conversation feminist theories, I observe that the contradictions in Soul Jah Love’s representation of women also resonate with dominant patriarchal perceptions of women and femininity, and patriarchal ideals that influence Zimdancehall music and culture.