By Jonathan Mbiriyamveka
For years, Enisia Mashusha’s story has been told through movement—whether it was the choreographed steps of her all-female dance group Mambokadzi, the strategic pace of a netball court, or the quiet confidence of her fingers finding the keys of a piano.
Now, the UK-based Zimbabwean arts practitioner is finally putting that story into words.
Enisia is mulling the publication of her first, as-yet-untitled book, a deeply personal project that traces her formative years from the dusty streets of Mzilikazi in Bulawayo to the bustling capital, Harare.
But this is not merely a memoir; it is an insider’s account of navigating a male-dominated arts industry, a testament to the power of listening, and a love letter to the foundations that shaped her.
Budding writer Enisia Mashusha
The idea for the book did not come from a publisher’s office, but from the very people who have followed her journey.
In recent weeks, Enisia took to her official Facebook page, teasing her followers with snippets of her life. The response was overwhelming.
“Sometimes you don’t realise how powerful your story is . . . until people start reflecting it back to you,” she wrote.
She shared how messages, comments, and inboxes poured in, with supporters urging her to stop posting fragments and instead turn the narrative into something permanent.
“To be honest . . . I didn’t take it lightly. I have always believed that storytelling is not just about the storyteller, it’s also about the people receiving it, and one thing I value deeply is listening.
“So I want you to know this, I hear you, and I appreciate you because of your advice, your support, and your belief in my story . . . I have decided to take a step back from posting the full story here and start working on something bigger. A book.”
She added with a knowing laugh: “Thank you for pushing me to see the value in my own story. Would you read my book when it’s out?”
Those who know Enisia’s work will recognise the same thoughtful voice that has recently positioned her as a measured social commentator back home.
When a controversial outburst by dancehall artist Malloti threatened to derail her UK tour, Enisia stepped into the fray—not with condemnation, but with a call for grace.
“Regarding Malloti’s recent comments, yes, she took a wrong turn by generalising Zimbabweans in the UK. Many of us are proud to be here and we work hard for our families, but let us remember everyone makes mistakes when emotions are high,” Enisia said at the time.
She urged against cancel culture, advocating instead for dialogue. “Malloti is a rising talent in Zim dancehall.
“Instead of pushing for a cancellation of her April UK show, let us use this as a teaching moment. We should not destroy a young career over one bad live session. We are one people, whether at home or abroad.”
It is this same blend of reflection and advocacy that promises to make her book a compelling read. In one early excerpt, she writes with vivid nostalgia about her beginnings—before the stages, before the awards, before Mambokadzi made its mark.
“These legs were my powerhouse,” she writes.
“Before I ever understood competition, before I knew what it meant to represent something bigger than myself, I was just a child in Mzilikazi running freely, chasing laughter, and discovering strength without even realising it.”
She recalls running marathons through dusty paths with friends, swimming with purpose from Grade 1, and discovering netball at a youth club in Harare. But it was at Mzilikazi Primary School, after returning from Harare, that a teacher named Mr. Chiradza placed her in front of a piano.
“He introduced me to the piano and patiently taught me how to play Ishe Komborera Africa,” she recalls.
“That moment changed something in me. Standing there, playing that song, I was not just learning music, I was learning confidence.”
That confidence carried her through St Columba’s High School, where as a Form 1 student she was selected to play netball in Division 1 alongside much older players, and where she and her friends turned ballroom dancing into a sought-after wedding act.
Then came a defining moment: selection to represent Zimbabwe at the All Africa Games in Harare.
“From running barefoot races as a child . . . to standing on a stage of continental competition, that journey didn’t happen overnight,” she reflects. “It was built in playgrounds, in swimming pools, on dusty courts, behind piano keys, and on dance floors. It was built through movement, discipline, courage, and belief.”
Now, as she steps back from posting those stories online to commit them to paper, Enisia Mashusha is once again proving that the most powerful art often begins with the courage to listen—and the wisdom to know that some stories deserve more than a fleeting post.
They deserve a book.
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