MC Zendiambo, the CEO of Mbogi Naree Entertainment, has found himself at the center of a heated debate after his viral dance, ‘Mapangale,’ sparked mixed reactions across social media. The dance, inspired by the motion of swinging a machete or panga (known as ‘Mapangale’ in Swahili), has drawn both praise and criticism from netizens and cultural commentators. Zendiambo, however, has firmly defended the dance, dismissing the negative feedback and doubling down on his creative expression.
In a recent online post, Zendiambo expressed his frustration with critics who have labeled the ‘Mapangale’ dance as promoting violence, emphasizing that dances, much like any form of art, should not be confined by traditional boundaries or societal expectations. His passionate response came after multiple comments and screenshots circulated, accusing the dance of glorifying harmful behavior and cultivating a violent culture.
“VENYE DANCE YA MOONWALK ILITOLEWA DID PEOPLE GO TO THE MOON? Mi mtu asiniambie kitu No one has forced the dance on no one. Kama haikubambi keep off, acha kutuwekea jam na sijui Netizens sijui Citizen,” Zendiambo posted. His comment reflects a broader sentiment among entertainers who believe that their work, whether music or dance, should not be subjected to moral policing from the public.
Zendiambo further continued, challenging critics to focus on their own preferences and leave him and his fanbase to enjoy their art. “Somebody tell them nimesema THEY SHOULD GET A LIFE STANAMA🤘 KAWANGECHESA 🙌🏽.” He uses the phrase “Stanama,” a Swahili term for resilience or standing firm, symbolizing his refusal to be swayed by negativity.
Despite the viral backlash, Zendiambo’s response to the critics has garnered support from his fans, who argue that art, including dance, is subjective and should be treated as such. They argue that as with any cultural trend, whether it’s dance, music, or fashion, people are free to interpret its meaning and significance. However, the critical voices maintain that the dance may be unintentionally promoting a culture of violence, particularly as it is modeled after the aggressive actions associated with wielding a machete.
One of the key criticisms that surfaced on social media was the suggestion that ‘Mapangale’ glorifies violent behavior, especially considering the prevalence of machete violence in certain parts of Kenya. Critics pointed out that the dance’s reference to a weapon typically used in violent confrontations could be seen as irresponsible, particularly in a country where machete violence has been a persistent issue. Zendiambo, however, quickly dismissed these concerns, urging critics to focus on what they consider to be positive trends, such as the so-called “Bibilia Dance,” a movement rooted in religious devotion.
“WEWE INTRODUCE BIBILIA DANCE KAMA DANCE ZANGU ZINAKUUMA SANA, ACHENI KUTUARIBIA MOOD. MA HOLIER THAN THOU NIKISEMA MAPANGALE UNASEMA SHA SHA SHA MAPANGALE!!!!” he exclaimed, implying that critics who don’t appreciate his dance should channel their energy into promoting their preferred trends without putting down others. This remark was aimed at those who see themselves as morally superior, claiming that his dance was just as valid as any other, including religious-themed dances.
Zendiambo’s reaction speaks to a larger conversation about the role of public figures in shaping culture and the responsibility they bear in influencing their audience. In the digital age, where trends are spread quickly and widely, the power of entertainment figures like Zendiambo to set trends is undeniable. However, this influence comes with a dual responsibility: to entertain and to ensure that the messages they promote are not harmful or dangerous.
While the debate over the ‘Mapangale’ dance continues, Zendiambo remains resolute in his stance, claiming the dance is meant purely for enjoyment, not to incite violence. For his supporters, the message is clear: the dance is an expression of freedom, creativity, and resilience. As the conversation around the dance evolves, it remains to be seen whether the critics’ concerns will lead to any significant change in how such trends are received by the public or if Zendiambo will continue to enjoy the success of his viral creation.
In the end, the controversy surrounding the ‘Mapangale’ dance is a reflection of the ongoing tension between artistic freedom and societal expectations, a debate that is as old as art itself. For now, Zendiambo’s message to his detractors remains unchanged: “STANAMA” stand firm and let the dance speak for itself.
