The Zimdancehall Revolution: Critical Perspectives

The Zimdancehall Revolution: Critical Perspectives
Contents
Notes on Contributors
List of Figures
Chapter 1: Introduction: Locating Zimdancehall in the Trajectory of Music in Zimbabwe
	Mapping Zimdancehall’s Development
		Locating Zimdancehall in the Trajectory of Music in Zimbabwe
		The Urban Grooves Movement
		The Genesis of Zimdancehall
	Organisation of the Book
	Concluding Remarks
	References
		Discography
Chapter 2: Aestheticising Vulgarity and Marginality: Zimdancehall as a Subcultural Revolution
	Introduction
	Zimdancehall, Marginality and Vulgarity
		Theorising Marginality
		Theorising Vulgarity
		Aestheticising Marginality
		Aestheticising Vulgarity in Zimdancehall
	The Threat of Commercialisation on Zimdancehall Aesthetics
	Conclusion
	References
		Discography
Chapter 3: Dancing with Musicking in Zimdancehall: Divergent Discourses and Interpretations
	Introduction
	Theorising Zimdancehall Performance
	The Origins and Development of Zimdancehall Culture
	Riddims and Clarks: Reflective Creativity of Ghetto Youth
	Wining as an Enactment of Pleasure and Gender Politics
	The Economy of Money in Zimdancehall
	Performing Sustainability Through Zimdancehall
	Conclusion
	References
		Discography
Chapter 4: Zimdancehall vs. The State: An Interrogation of the Genre as a Response to Socio-Political Crises in Zimbabwe
	Introduction: Defining and Historicizing Zimdancehall
		A Brief History
	Zimdancehall Versus the State
		Direct Confrontation
		The Lived Condition
		Asserted Agency
		Going Rogue
	Conclusion
	References
		Discography
Chapter 5: Ibotso MuDzimba Dzemabwe: Winky D and the Quest for Human Flourishing in Zimbabwe
	Introduction
	Botso: An Overview
	Kutanda Botso MuDzimba Dzemabwe
	No Freedom After Thinking, Imagining and Singing? Analysing the Overreaction by the Authorities
	Conclusion
	References
		Discography
Chapter 6: Politics of the Rhythm: Unpacking Winky D’s Eureka Eureka Album
	Introduction
	The Contestations and Contradictions of Ethnomusicology
	Ghettocraft and Rebel Yell
	The Barrel of the Microphone
	Freedom of Expression in ‘Censorship Democracy’
	Conclusion
	References
		Discography
Chapter 7: Self/Re-naming in Zimdancehall: The  (De)formation of a Culture?
	Introduction
	Theoretical Anchor
	Methodology
	Presentation and Discussion of Findings
		Names and Titles That Valorise Delinquency, Drugs and Crime and Violence
	Names That Represent Ghetto People’s Hopes and Aspirations
	Implications of Self/Re-naming
	Conclusion
	References
		Discography
Chapter 8: Semantic Metamorphosis or Reconceptualisation?: A Case of Shona in Zimdancehall Music
	Introduction
	Brief Literature Review
	Research Methodology
	Data Collection Techniques
	Method of Data Analysis
	Data Presentation and Analysis
		Semantic Extension/Broadening/Widening in the Zimdancehall Music
	Pejoration in Zimdancehall Music
	Amelioration in the Zimdancehall Music
	Vulgarity in Zimdancehall
	Conclusion
	References
		Discography
Chapter 9: Zimdancehall and Modes of Being in the City
	Introduction
	Conceptual Framework
	Theoretical Framework
	Literature Review
	Research Methodology
	Results
	Discussion
		Zimdancehall as an Urban Revolution
		Zimdancehall Shapes Urban Culture
		Building Resilience in Urban Spaces
		Zimdancehall Peddling Urban Social Ills
	Conclusions and Recommendations
	References
		Discography
Chapter 10: Burying Sauro: The Necrography of Zimdancehall
	Introduction
	Soul Jah Love
	Necrography, Necropolitics and the Politics of Grievability
	Soul Jah Love: The Death-Bound Subject
	Soul Jah Love and the Necropolitan State
	Conclusion
	References
		Discography
Chapter 11: “Mwana waStembeni”: The Ambivalent Representation of Women in Soul Jah Love’s Music
	Introduction
	Musician of Many Facets: Soul Jah Love’s Personal Background
	Soul Jah Love as Mwana waStembeni: Representation of Motherhood
	Exploring the Ambivalences
	Relationship with Bounty Lisa
	Conclusion
	References
		Discography
Chapter 12: Versions of Heterotopia in the Artistic Works of Dambudzo Marechera and Soul Jah Love
	Introduction
	Background
	Heterotopia
	Marechera and Soul Jah Love’s Heterotopias
	Conceptual Art and Artistic Skill
	Conclusion
	References
		Discography
Chapter 13: The Futurist Imaginaries of the Zimbabwean Conditions in Winky D’s Njema
	Introduction
	Theoretical Framing
	The Historical Context
	Winky D’s Futurist Aesthetics
	Futurist Sonic Imaginings About Travel into Alternative Spaces
	Afrofuturist Sonic Expressions of Bleakness and the Yearn for an Alternative Zimbabwe
	Conclusion
	References
		Discography
Chapter 14: Towards Success or Precarity? The Tenuous Future of Zimdancehall as a Cultural Movement
	Has Zimdancehall’s Ghetto Consciousness Dissipated?
	What Does the Future Hold?
	References
Index