mbulelo smpofu
Mbulelo Mpofu, mbulelo.smpofu@gmail.com
IN a blurring of lines that’s unsettling to some and exhilarating to others, the worlds of entertainment and spirituality are colliding.
Southern Africa, a region where cultural identity and ancestral reverence are deeply ingrained, has become a fertile ground for this convergence. Entertainers, once solely purveyors of pleasure, are increasingly positioning themselves as spiritual authorities.
Case in point, musician and culturist Bothwell “Bekezela” Nkomo, now known as Gog’ Bekezela. His transformation exemplifies this trend, raising profound questions about the erosion of traditional spiritual practices and the potential for exploitation within this increasingly blurred landscape.
“Gogo” traditionally carries maternal significance, representing wisdom and nurturing. However, within spiritual circles, it embodies a higher, supernatural power. Celebrities like Genesis Gabriella Tina Manney — better known as Gigi Lamayne — Evias Bhebhe, and Zodwa Wabantu have also embraced roles as spiritual guides. This growing phenomenon raises questions about the impact of spiritualism on the entertainment industry and the responsibilities of those who adopt these roles.
Earlier this year, during the National Arts Merit Awards (Nama) held at the Zimbabwe International Exhibition Centre (ZIEC) in Bulawayo, a Saturday Leisure crew encountered Gog’ Bekezela, who made a striking impression with an outfit reminiscent of a spiritual healer. His appearance was not merely a fashion statement but a significant transformation in his identity.
“I am now Gog’ Bekezela,” he announced, revealing that his new name reflects a spiritual calling that has reshaped his life and career.
This announcement surprised many who believed he had faded from the music scene, unable to replicate the success of his hit song Bekezela, which had captivated audiences.
Contrary to these assumptions, Gog’ Bekezela explained that he had spent the last two years in search of spiritual clarity. This journey took him across Southern Africa, including South Africa, Zimbabwe, and Botswana, as he sought answers to the troubling questions that haunted his soul.
“I was laying low, seeking spiritual clarity,” he shared, emphasising that this period of introspection was crucial for his transformation.
Upon completing his initiation, Gog’ Bekezela returned to the public eye, co-ordinating the Inxwala Memorial performance lecture at the Bulawayo Arts Festival (BAF) in June. This event was not merely a showcase of cultural performance but a platform for education and remembrance of the traditional ceremonies associated with the Inxwala. Attendees included cultural enthusiasts and respected figures such as Chief Dakamela and Dr Gasolo, all of who celebrated the rich tapestry of their heritage.
In a revealing interview with Culxure Mag, Gog’ Bekezela elaborated on the implications of his new identity.
“When I came back from the initiation process, I had to return to the music stream but in a different dimension. I am no longer an entertainer like before; I am now more of an educator,” he explained.
This statement underscores a significant shift in his role as an artiste — moving from mere performance to cultural stewardship.
For Gog’ Bekezela, being called “Gogo” is a spiritual affirmation.
“When you see me, you see only the flesh, but there are ancestors that govern me on this path,” he explained.
He acknowledged that while his previous persona as Bothwell or Bekezela may have been entertaining, it lacked the spiritual depth he now embodies.
“I can’t heal a person or help you grow spiritually, but my spirit is the one that can perform those things,” he stated, illustrating the duality of his existence.
This duality is not unique to Gog’ Bekezela; it reflects a broader trend among artistes who feel a deep connection to their cultural roots.
“When you see me, you see two versions: the Bekezela you grew up with in the flesh, but spiritually I am a gobela (healer). The spirits that I walk with are the ones leading me in doing these cultural events where you see me singing traditional songs and these lectures,” he noted, highlighting the importance of spiritual lineage in his work.
Historically, the anointing of leaders, whether kings or chiefs, involved special traditional rituals that connected them with the spirits of their ancestors. Gog’ Bekezela draws parallels between these historical practices and his own spiritual journey, suggesting that his work is part of a long-standing tradition of cultural leadership.
“As I walk here, I am not representing myself. Those who are blessed with the spiritual eye can see the people I am walking with,” he stated, referring to the ancestral spirits guiding him.
As he embraces his new role, Gog’ Bekezela is committed to conducting more traditional lectures and events aimed at preserving and promoting cultural practices.
“I am doing this to help those in genuine need,” he affirmed, distancing himself from the notion that his spiritual journey is merely a publicity stunt.
His dedication to educating others about their cultural heritage underscores the potential for artists to play a vital role in the spiritual and cultural awakening of their communities.
This trend of artistes adopting spiritual roles raises important questions about authenticity and responsibility. As spiritualism gains traction in mainstream media, those in the spotlight need to approach their roles with sincerity and respect for the traditions they represent. Case in point is when sungura musician, Gift Amuli decided to abandon his traditional healing calling, barely two months after being initiated into the craft two years ago. — Follow on X @MbuleloMpofu
