Namibia is a country blessed with rich cultural diversity, traditions and musical talent. Our music represents who we are as people, tells our stories and preserves our cultural identity for future generations.
However, I believe more needs to be done to recognise and promote some of the country’s original musical genres, particularly Ma/Gaisa and Oviritje, which continue to contribute meaningfully to Namibia’s cultural landscape.
I respect and agree with the point raised that Ma/Gaisa and Oviritje artists deserve respect because their music represents an authentic Namibian sound. These genres carry cultural histories, creative expressions and musical traditions that deserve to be valued. While Namibia should welcome different musical influences, we must not lose sight of the importance of supporting the music that originates from our own communities.
Over the years, I have observed that Ma/Gaisa and Oviritje often do not receive the level of recognition and exposure I believe they deserve on national platforms. These genres appear to face challenges in securing performances at major national events, receiving adequate airtime on national radio stations such as National FM, and gaining visibility on Namibian Broadcasting Corporation (NBC) television channels and other influential media platforms.
This situation raises an important question: Are we doing enough as a country to promote and preserve our own musical heritage?
Oviritje, in particular, has demonstrated its ability to transcend cultural boundaries. Its appeal is not confined to one community or ethnic group. People from different backgrounds across Namibia listen to, enjoy and participate in Oviritje music. Its presence at social gatherings, celebrations, and cultural events shows the connection it has built with many Namibians.
When a genre can reach audiences across cultural and geographical boundaries, it deserves serious consideration within the national entertainment industry. Oviritje’s popularity should encourage broadcasters, event organisers, and music promoters to explore how to give its artists more opportunities to reach wider audiences.
In discussing the development of Oviritje, it is important to acknowledge artists such as Diop Katuuo, Mutjanga Ben and other established and emerging musicians who contribute to the genre. These artists form part of a broader musical community that continues to preserve and develop Oviritje.
Their contributions deserve recognition, and the industry should consider how to provide them with opportunities that support their careers and expand their audiences.
My concern is not that other genres or musicians should be excluded. Namibia has a diverse music industry, and artists from different backgrounds deserve opportunities to showcase their talents. The issue is whether our national platforms provide sufficient space for all genres, including those rooted in indigenous Namibian traditions.
Some music lovers believe artists who perform Ma/Gaisa and Oviritje are not consistently given the same exposure as musicians working in more commercially prominent styles. Whether this reflects booking decisions, broadcasting priorities, marketing challenges or other factors, the matter deserves open discussion. Decisions about national entertainment should be considered more than commercial popularity alone.
Event organisers and broadcasters must consider audience demand, production costs, and other practical factors. However, cultural representation should also be part of the conversation.
National events are opportunities to showcase the country’s diversity, and including a broader range of local musical genres could help audiences discover artists they might otherwise never encounter.
National broadcasters, including NBC and its radio services, play an important role in promoting Namibian music. Radio airtime can help artists build audiences, while television appearances can increase their visibility and create opportunities for further professional development. Greater coverage of Ma/Gaisa and Oviritje could also help document and preserve these musical traditions.
The music industry should therefore consider practical ways to support these genres.
This could include more inclusive booking practices for national events, dedicated programming for indigenous music, interviews with artists, live performances and opportunities for emerging musicians. Such initiatives would not need to come at the expense of other genres. Instead, they could contribute to a more diverse and inclusive entertainment industry.
We should also recognise that cultural music is not simply entertainment. It carries the history, language, identity and experiences of the communities that create it. When artists perform Oviritje and Ma/Gaisa, they are contributing to the continuation of musical traditions that deserve to be preserved. Supporting these artists helps ensure younger generations remain connected to their cultural heritage.
I believe that discussions about the future of Namibian music should include the voices of ordinary citizens, music lovers and communities that support these genres. Cultural recognition should not be limited to industry professionals or major commercial events. The people who listen to, promote and sustain this music also have a valuable perspective on its importance.
I would therefore encourage event organisers, broadcasters, music promoters and relevant stakeholders to take a closer look at how Ma/Gaisa and Oviritje artists can be supported.
This is not a call to undermine other musicians or to declare one genre more valuable than another. It is a call for greater cultural appreciation, fairness and opportunities. Every musical tradition contributes something different to Namibia’s identity, and our national platforms should reflect that diversity.
Namibia has the opportunity to build a music industry that celebrates both contemporary creativity and the cultural traditions that have shaped our society. To do so, we must examine existing practices and consider whether all artists are receiving meaningful opportunities.
Ma/Gaisa and Oviritje deserve to be heard, respected and given opportunities to grow. Supporting these genres is not only about promoting individual artists; it is also about preserving a part of Namibia’s cultural identity. As we look to the future, I hope our national events, broadcasters, and music industry stakeholders will create more space for authentic Namibian sounds.
Our music should have a place on our national stages, and the artists who continue to carry these traditions forward should not be overlooked. The time has come for a broader conversation about how Namibia can recognise, promote and sustain its diverse musical heritage.
*Karirandua Tjingee is an Otjitanda resident and is writing in his personal capacity.
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