Harare — IT came as a shock when international gospel music sensation Rebecca Malope told the media on September 3 that she would take action against local gospel diva Mercy Mutsvene for pirating her songs.

In some quarters this was interpreted to mean legal action.

Some of the songs believed to have been "pirated" include Malope's Mangingavumi, which Mutsvene sings as Handingabvumi; and, Ulilanga Lelanga which Mutsvene sings as Muri Mutsvene.

There is no denial that the two are talented and revered women whose rich melodies have become part and parcel of both the Christian and secular communities nationally, regionally and internationally.

In 2007, Malope said: "I'm only preaching by singing gospel music to the people and they love that. The Lord called me to sing gospel . . ."

The names Rebecca Malope and Mercy Mutsvene have become synonymous with the centre stage that women occupy in the Christian ministry and the spread of the Good News through music, a genre now popularly referred to as gospel music.

They also have beautiful names that complement the melodies they churn out.

The biblical Rebecca is the woman who married Isaac, Abraham's son, and whose brothers sent her away into marriage with the blessing of abundance: "Our sister, may you increase to thousands upon thousands; may your offspring possess the gates of their enemies" (Genesis 24).

She went on to bear twin sons Esau and Jacob, and the latter fathered 12 sons, who became the 12 tribes of Israel.

Mercy on the other hand is a popular English girls' name in Zimbabwe that means compassion, pity, clemency, forgiveness, kindness, sympathy, understanding, leniency or benevolence.

These qualities are complemented by her surname (Mutsvene), a Shona word that means the holy or righteous one.

With such phenomenal names and the exuding talents, the question then is where is the missing link between the gospel artistes?

Have they fallen into a trap and what should other Christians do to restore peace between them?

Their music is loved by many, from the least to the greatest.

Former South African President Nelson Mandela is among the legion of Rebecca Malope's admirers.

While Malope has sold millions of copies, she also has 30 albums to her credit, and has performed to countless audiences in the region and internationally.

Mutsvene, whom analysts believe saw a role model in Malope, now, has to her credit eight albums.

This is a mark of achievement for both women who sing in different languages.

So, what has caused the bad blood between the gospel divas?

For the past three weeks, the news headlines have been far from being complimentary, especially on Mutsvene: "Mutsvene is pirating my music: Malope"; "Mutsvene adds to her brood . . . As a plagiarism related lawsuit lingers"; "Mutsvene needs to create own identity"; "Mercy Mutsvene owes us an explanation"; "Most rising gospel artistes not original"; "Stable mum on Mutsvene issue", etc.

Whatever the truth is in the Malope/Mutsvene saga, some people have brushed it off as a storm in a tea cup, and a scenario designed to make our celebrities look like those in the West who will come up with all sorts of stunts in order to attract media attention, especially when their fortunes are hitting hard times.

This school of thought argues that this is also nothing but a media hype to boost record sales, and raise the profiles of the two musicians.

Why for instance did the allegations made by Malope gain prominence when she performed in Harare recently?

A music analyst who preferred anonymity asked where Malope's manager was when Mutsvene told The Chronicle's Weekend Leisure in April 2005: "I do my recordings in South Africa and I actually work with Rebecca. What happens is that I take my songs to Rebecca then we help each other to arrange the music.

"She helps me in the recording and maybe that is why people think that our music is almost the same. The only difference will be that my songs will be in Shona while hers are either in Sotho or Zulu."

The analyst also cautioned that when it comes to gospel music, there is need to be very careful about the terminology used, especially terms like plagiarism.

However, some Christians argue that the church cannot afford yet another disgraceful incident especially among high profile gospel musicians like Malope and Mutsvene whose music over the years has permeated various sections of society.

Mrs Rosemary Mugwagwa who attended Malope's September show remarked: "This is very unfortunate. In their own right, we credit them for being powerful ministers of the word of God, and since they perform publicly, their music attracts both the saved and unsaved souls.

"When we hear about such accusations, we wonder whether the word of God is now for sale, an issue that most gospel musicians are now accused of doing, since some of them are not even Christians."

Only the two songbirds know the truth.

However, the mere fact that they are described as gospel musicians -- meaning that they are using the Bible as the basis of their compositions raises a number of issues?

What is gospel music?

The Shorter Oxford English Dictionary defines gospel as the glad tidings (of the kingdom of God-Matthew 4: 23).

Hence, the Christian revelation, religion or dispensation.

It is also defined as the record of Christ's life and teaching, contained in the book written by four evangelists.

And, to gospelise (what we believe Malope and Mutsvene are doing), is to modify according to the spirit of the gospel.

On that basis, it would mean that gospel artistes use the Bible for their compositions.

According to the Bible, 2 Timothy 3: 16: "All Scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness".

If this is the case, who owns the intellectual property rights and artistic content of gospel artistes' compositions, or how far can a gospel artist claim artistic ownership in his or her music?

Who owns the copyright to gospel music, if indeed the lyrics are derived from the Bible?

The questions raised exclude issues like an individual's artistic talent that are infused with the production.

This writer believes that part of the answers to these questions will assist Malope and Mutsvene in coming up with an amicable resolution to their apparent differences, instead of allowing an important issue like this to be resolved through the media.

One of the issues that also emanate from the Malope/Mutsvene story is the nature of acknowledgement patterns form of a in the arts and entertainment industry. Acknowledgement is a form of appreciation and saying thank you.

In academia, this is a crucial element.

It is a given that there is a section where an author acknowledges the intellectual and artistic input of others other than themselves.

What does it mean to be acknowledged, and to acknowledge?

And, what are acknowledgement patterns like in the arts and entertainment sector?

If a musician uses the genre used by another musician, how do they acknowledge it?

I raise issues of monopoly and acknowledgement, and I add to this, originality as I am going through the Catholic church's "Celebration hymnal" which has 375 songs. Published in 1976, it has songs that date back to the 10th century.

Examples of well-known songs sang in many denominations around the world include "Abide with me" by H F Lyre (1793 -1847) and John Newton's "Amazing grace".

Christmas is also around the corner, and John Mohr's "Silent night", which was translated by J Young will be sung all over the world, in various languages and tunes.

The composer died centuries ago.

Who then should get credit, when so many artists and recording companies have made millions from a song composed by someone who died in the 19th century?

How about the Wesley brothers, Charles and John whose compositions constitute many church services in different parts of the world, Zimbabwe and South Africa included?

Are churches across the globe "pirating" or "plagiarising" their music?

If that is the case, how then should the gospel be preached?

Can the Bible be pirated or plagiarised?

The Malope/Mutsvene saga should also make people realise that although the gospel came to Africa in earnest a few centuries ago, it has been in existence for more than two thousand years.

Music that edifies, uplifts and encourages was part of the evangelism.

What today's church has done is to just be innovative in the manner in which it preaches the gospel through music, which Malope and Mutsvene are supposed to be doing.

However, maybe the best approach that the Church can use is the one used by Saint Paul when he admonished two powerful women he had worked with in Philippi.

In Philippians 4: Vs 1-3 he writes: "Therefore, my beloved and longed-for brethren, my joy and crown, so stand fast in the Lord, beloved. I implore Euodia and Syntyche to be of the same mind in the Lord. And I urge you also, true companion, help these women who laboured with me in the gospel, with Clement also and the rest of my fellow workers, whose names are in the Book of Life."

Why was it important for Paul to mention this agreement, and what lessons can be drawn using the Malope/Mutsvene saga?

In a study titled "When Christians can't get along", a Bible teacher on argues that the way Paul handled this situation can enable today's Christians know what to do when brothers and sisters in Christ are at odds.

He says that it is quite normal that where there are humans, there is bound to be misunderstandings and differences of opinion - even if those humans are Christians, and, even if they are good Christians.

However, the question is not "If Christians disagree, what should we do?" but "When Christians disagree, what should we do?"

This is the challenge faced by Christians who like both Malope and Mutsvene's music.

How will they as a community ensure that they bring about harmony between the two sisters, harmony that will also flow in the body of Christ - the Church?

Do they want to help them to be reconciled so that it does not compromise the preaching of the gospel?

Are there men and women of God who can take up this responsibility, instead of allowing the situation to deteriorate as each camp makes claims and counter claims through the media, which in itself would not advance the cause of the gospel, and might allow the situation to affect others in the ministry who use music for purposes of witnessing?

He advises that when faced with a situation similar to that of Rebecca and Mercy, people should not start by pointing out their short comings.

Rather, they should affirm their care for them -- before they influence their wills.

Those willing to assist must touch their hearts by using sensitive confrontation and encourage them to amicably resolve their differences.

Why is it important to set this precedent with Rebecca and Mercy? Because they have laboured for the Lord.

Their music has brought so much joy among diverse groups of people.

They have also demonstrated that women have the ability to spread the gospel in many ways: teaching, instructing, encouraging and edifying using music.

If this is not done, the friction between them can make those years of hard work meaningless.

If we can still read about Euodia and Syntyche today, it means that this was a disagreement that had a purpose for today's generation.

There should be no embarrassment or shame among the sisters, but a realisation that it does not pay to be sidetracked by the devil.

Rebecca and Mercy must be shown that their differences are everybody's business for their disagreement does not only harm them, but, they also give others a bad impression of the church, especially gospel music which is now labeled as a commercial venture.

And, this should be done without taking sides.

Having said that, it is hoped that both Malope and Mutsvene mend fences and move on with the important work they are doing.

They are powerful artistes whose gospel music ministry has done a lot to advance the cause of the gospel of the Lord Jesus Christ.

This is why this writer found it compelling to write that notwithstanding the differences, the church (the body of Christ) should act in the same way Saint Paul did with Euodia and Syntyche of Philippi.