LEADERS MANDATE | INDUSTRY & INTELLECTUAL PROPERTY

ZIMURA Backs Fungisai as Copyright Dispute Over Cover Bands Deepens

Byline: Leaders Mandate Editorial Desk  |  Focus: Music Rights, Royalties & Intellectual Property  
  Published: September 10, 2026

THE BIG STORY: The Zimbabwe Music Rights Association (ZIMURA) has weighed in on the growing copyright dispute involving gospel musician Fungisai Zvakavapano-Mashavave, cover band performances and the use of composers' works. The organisation has also clarified the circumstances surrounding a widely circulated US$150 licence and addressed questions surrounding royalty payments.

A dispute that began on social media has moved into a wider conversation about copyright compliance, licensing and the financial rights of Zimbabwean musicians. ZIMURA's latest statement provides clarification on what a single-event licence does — and does not — permit, while placing renewed attention on the obligations of performers and commercial event organisers.

INTELLECTUAL PROPERTY: The dispute has renewed discussion about music licensing, copyright compliance and the rights of composers whose works are performed commercially.

The Licence Royalties ZIMURA's Position Editorial

What the US$150 Music Licence Actually Covered

ZIMURA says the receipt circulating online related to a particular event, rather than providing unlimited permission to use musical works.

A US$150 licensing receipt became part of the public discussion after appearing on social media during the dispute over cover band performances. Questions were subsequently raised over whether the payment represented continuing permission to perform, record or commercially exploit the relevant musical works.

Licence Was Event-Specific ZIMURA said its licensing records show that the licence referred to one specific event and was valid for that event and one day only.

That distinction is central to the dispute. According to ZIMURA's explanation, payment for one event should not automatically be interpreted as continuing authorisation for future performances, recordings, distribution or other forms of commercial exploitation.

In practical terms, performers and organisers need to establish the scope and duration of any licence rather than relying on an old receipt as evidence of continuing clearance.

Questions Raised Over Royalties

ZIMURA has also addressed claims concerning royalties linked to commercial performances involving Fungisai's musical works.

Another important aspect of ZIMURA's statement concerns royalties. The organisation addressed the status of payments allegedly connected to performances by In Total and events associated with the ECOBANK Legends Night.

ZIMURA Says It Has No Record of Specific Payments ZIMURA stated that it had no record of royalties being remitted specifically to Fungisai Zvakavapano from the commercial exploitation of her works by In Total, and said it had also not received royalties from the ECOBANK Legends Night tours.

The statement puts the focus on an issue that extends beyond the personalities involved: how licensing revenue is documented, collected and ultimately distributed to the creators whose works generate commercial value.

For artists, bands, promoters and event organisers, proper accounting can be just as important as obtaining permission to perform. Clear records help establish what was licensed, for which event, for how long and under what financial terms.

ZIMURA Supports Fungisai's Copyright Rights

The rights organisation says composers should be able to protect their works and seek appropriate licensing and accounting where applicable.

ZIMURA confirmed that Fungisai is a registered member and said it supports the broader principle that composers should be able to protect their intellectual property and object to unauthorised commercial exploitation.

The Rights at the Centre of the Dispute The copyright debate includes several fundamental issues for musicians:

Protecting Intellectual Property Musicians should be able to protect and control their original musical works and intellectual property.

Objecting to Unauthorised Commercial Use Copyright owners can object when their works are used commercially without the appropriate authorisation.

Securing Appropriate Licences Where licensing is required, the relevant permissions should be obtained before copyrighted works are commercially exploited.

Receiving Royalties Where Applicable Creators may be entitled to royalties where their works are licensed or commercially exploited under applicable arrangements.

Pursuing Available Legal Remedies Where rights are believed to have been infringed, copyright owners can consider the legal and regulatory remedies available to them.

ZIMURA also cautioned against treating social media commentary, personal relationships or individual interpretations as substitutes for formal copyright clearance.

The organisation's position places the emphasis on documentation and the applicable legal framework rather than on the intensity of the public debate surrounding the artists involved.

Why the Dispute Matters Beyond Fungisai

The disagreement highlights wider challenges facing Zimbabwe's creative economy as live entertainment and digital platforms continue to grow.

Copyright disputes in the music industry are rarely limited to the artists at the centre of them. They can expose weaknesses in licensing practices, royalty administration, event contracting and record keeping.

Zimbabwe's live music sector depends heavily on cover performances, collaborations and touring. As these activities become increasingly commercial, questions around ownership and licensing are likely to remain important for musicians, promoters, venues and event organisers.

The Business Lesson for Artists Copyright is not simply a legal issue. It is also an economic asset. Artists who understand ownership, licensing, contracts, royalty structures and documentation are better positioned to protect the commercial value of their creative work.

For businesses and promoters, the lesson is equally straightforward: permissions should be properly documented, the terms should be understood and payments should be traceable.

LEADERS MANDATE EDITORIAL

A Copyright Debate Zimbabwe's Music Industry Should Watch

ZIMURA's intervention has shifted the conversation from social media exchanges to the practical questions of copyright, licensing and royalty administration. While the wider dispute involves competing claims from individuals within the music industry, the underlying issue is bigger than the personalities involved.

A payment made for one event cannot necessarily be assumed to cover every future performance or commercial use. Equally, claims about royalties and licensing should be supported by proper records rather than social media statements or informal understandings.

For Zimbabwe's creative sector, the most constructive outcome would be a stronger culture of written agreements, transparent licensing, accurate royalty reporting and respect for intellectual property. Those practices can protect composers while giving performers, promoters and businesses greater certainty when commercialising music.

The Fungisai-ZIMURA-Mono Mukundu dispute therefore offers a broader lesson for the industry: creative work has economic value, and that value is best protected when ownership, permission and payment are clearly documented.

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