Borders and Beats: Zimbabwean musician Jah Prayzah cancels USA shows due to visa 'technical issues'.

by artweb

When celebrated Zimbabwean artist and musician Jah Prayzah announced the cancellation of his U.S.A shows in Washington D.C. and Dallas, the disappointment rippled far beyond his loyal fanbase. In a heartfelt Instagram post, he explained that a “technical issue” during the U.S.A visa application process had derailed his team’s travel plans. Although visas were not denied outright, the end result - disrupted travel and canceled performances - was the same. For his fans, for the organizers, and for Jah Prayzah, the system had failed.

This situation is more than just an isolated setback; it is a microcosm of the broader and often invisible barriers faced by artists from the wider Global South. While cultural exchange is touted as a diplomatic ideal, visa regimes tell a different story - one of exclusion, inequality, and missed opportunity. Zimbabwe is not officially on a U.S.A travel ban list like Iran, North Korea, or Syria. However, as reported by ZimLive, Zimbabwe is one of 36 countries whose citizens could be banned from travelling to the United States of America over alleged identity documentation fraud and visa violations.

The U.S. Visa Waiver Program does not apply to Zimbabwe, meaning every Zimbabwean - regardless of international acclaim or cultural value - must navigate a lengthy, uncertain, and often expensive visa application process. The Henley Passport Index ranks Zimbabwe’s passport among the weakest in the world, granting visa-free or visa-on-arrival access to only around 63 countries. In contrast, holders of U.S.A or European Union passports enjoy access to over 180 destinations. This disparity directly affects artist mobility, translating into fewer chances to tour, collaborate, and engage on global stages. The issue is compounded by reports of increasing deportations and rejections of foreign nationals by U.S.A immigration officials, even in cases where all required documentation is in order. For artists, this is not just a bureaucratic hassle - it is a direct threat to their careers.

For Zimbabwean creatives, the ability to travel is not just a professional necessity - it’s a lifeline. Their work often reflects the social and cultural narratives of their country and diaspora. Jah Prayzah’s Ndini Mukudzei World Tour, for example, is more than entertainment; it’s a form of soft power, a vehicle for cultural diplomacy, and a source of economic sustenance. When such tours are disrupted, it is not just performances that are silenced - it’s a suppression of cultural exchange and economic potential. The irony is deepened by the fact that embassies and foreign missions often promote cultural events as tools of diplomacy, yet the same bureaucracies often fail to facilitate the very artists they seek to showcase.

Interestingly, Jah Prayzah’s Canadian shows in Edmonton and Toronto remain on schedule. Canada also requires visas for Zimbabwean nationals, but its process, while bureaucratic, is reportedly more predictable and transparent. This contrast underscores the inconsistency of global mobility systems, where access can hinge not on merit or contribution but on the passport one holds and the geopolitics behind it.

Last week, we highlighted yet another troubling example of Zimbabwean artist Richard Mudariki was denied a visa to Switzerland, where he was set to present his project Artworld Passport, an artwork that directly critiques the global visa regime and its impact on artists. The irony is striking, an artist creating artwork about border restrictions is himself blocked by the very system he critiques. This underscores the urgent need for policy reform and stronger advocacy for equitable artist mobility. Cultural institutions, international festivals, and diplomatic missions must take a more active role. Potential solutions include the creation of artist mobility programs with expedited visa processes, consular partnerships with arts organizations, and regional visa centers that prioritize applications from cultural practitioners. Without these interventions, countless artists will remain grounded, not due to a lack of talent or opportunity, but because of the arbitrary barriers of global visa policy.

Jah Prayzah has promised to reschedule his U.S.A dates and complete his tour. But for many Zimbabwean artists, chances like these are rare and not always renewable. The stage may be set, the audience ready, the message urgent, but if the border says no, the music does not play.