DOCSLIB.ORG

Zimbabwe Urban Grooves Music and the Interconnections Between Youth Identities and Celebrity Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zimbabwe Urban Grooves Music and the Interconnections Between Youth Identities and Celebrity Culture Zimbabwe Urban Grooves Music and the Interconnections between Youth Identities and Celebrity Culture By Doreen Rumbidzai Tivenga Submitted in fulfilment of the requirements in respect of the Doctoral Degree in English in the Department of English in the Faculty of Humanities at the University of the Free State August 2018 Supervisor: Professor Irikidzayi Manase Co-Supervisor: Professor Helene Strauss Declaration I, Doreen Rumbidzai Tivenga declare that this thesis hereby submitted for the qualification of Doctor of Philosophy (English) at the University of the Free State is my own work and that I have not previously submitted the same work at another university. Signature: Date: 22 August 2018 i Acknowledgements I would like to thank all the people who contributed in various ways to the success of this study. I am especially grateful to my supervisors, Professors Irikidzayi Manase and Helene Strauss, who were fully committed in the mentorship of this study. I would also like to thank my family, friends and colleagues for their love and various forms of support. Special thanks go to the schools and the authorities who gave me permission to interview youth at the schools I visited. The contributions of all the youth, musicians, music promoters and music producers who took part in the interviews for this study are much appreciated. I am also grateful to the University of the Free State for the university bursary that contributed towards the payment of my tuition fees. Finally, the financial assistance of the National Institute for the Humanities and Social Sciences - Council for the Development of Social Science Research in Africa (NIHSS-CODESRIA) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at are those of the author and are not necessarily to be attributed to the NIHSS-CODESRIA. ii Dedication For my parents for their love and support iii Abstract Zimbabwe urban grooves music is an urban contemporary hybrid genre of music that fuses local music, beats and cultural practices with global popular youth music and cultural practices, is sung predominantly in vernacular languages, and is popular with the urban youth. This thesis examines the interconnections between youth identities and celebrity culture through the lenses of urban grooves music. The study focuses on how Zimbabwean youth react to fundamental societal shifts and the convergence between their everyday local experiences and global cultural experiences through music. I show how these local and global changes have led to a significant rise in popularity and influence of urban grooves music as youth seek to express their identities and cultures in light of these changes and intercultural experiences. My study addresses these significant youth experiences by engaging in a textual analysis of urban grooves music and video texts. Textual analysis is complemented by interviews with urban youth, urban grooves musicians, music promoters and producers, while some of the research findings are based on observations I made during some musical shows I attended as part of the audience or consumers of urban grooves. Field work for the research was delimited to Harare and Chitungwiza where the genre has its roots and has developed rapidly to influence the youth. In addition, the study is mainly informed by theories of globalisation, popular culture and celebrity culture, which are complemented by other relevant concepts such as the concept of the everyday, power, recognition and feminist theories. These theories are key in comprehending the significance of the urban grooves genre and its linkages with trajectories of youth identities that are mapped in ambivalent and intricate ways involving complex gender dynamics, spatial attachments, group affiliations, celebrity culture and the quest for visibility and power. I argue that interactions between complex everyday local and global cultural and societal changes have contributed to Zimbabwean youth’s everyday experiences, intercultural encounters and identities that resonate and are influenced by celebrity culture and constituted in urban grooves. iv Key Words: Zimbabwe, Zimbabwe urban grooves music, urban, youth, identity, culture, celebrity, celebrity culture, popular culture, globalisation, ghetto, interculturality, syncretism, space, female musicians, male domination, consumption, everyday life, resistance, self- praise, lyrical feuds, power, recognition v Table of Contents Declaration ......................................................................................................................................... i Acknowledgements ........................................................................................................................... ii Dedication ........................................................................................................................................ iii Abstract .............................................................................................................................................iv Chapter 1: Contextual Introduction .................................................................................................... 1 1.1 The Urban Grooves Complex ................................................................................................... 1 1.2 Zimbabwean Music before the Era of Urban Grooves and Manifestations of Syncretic Fusions in the Music ................................................................................................................................... 4 1.3 The Urban Grooves Genre ..................................................................................................... 11 1.3.1 Defining Urban Grooves ................................................................................................. 11 1.3.2 The Birth and Development of Urban Grooves ................................................................ 14 1.3.3 Critiquing Issues on the Urban Grooves Debate ............................................................... 17 1.4 Interconnections between Music, Youth Culture and Youth Identity ....................................... 21 1.4.1 Conceptualising the Interconnections between Zimbabwe Urban Grooves Music, Youth Culture and Youth Identity ....................................................................................................... 24 1.5 Conceptualising the Linkages between Celebrity Culture, Youth Culture and Youth Identity .. 29 1.6 Research Assumption, Objectives and Questions .................................................................... 35 1.7 Research Methods .................................................................................................................. 37 1.8 Chapter Organisation ............................................................................................................. 40 Chapter 2: Zimbabwe Urban Grooves Music: Interculturality and Syncretism .................................. 43 2.1 Introduction ........................................................................................................................... 43 2.2 Understanding Interculturality and Syncretism ....................................................................... 44 2.3 Urban Grooves and Migration as Sites of Intercultural Encounters ......................................... 50 2.4 Mediated Intercultural Encounters .......................................................................................... 59 2.5 Cultural Syncretism in Urban Grooves ................................................................................... 67 2.6 Syncretism in the Language of Urban Grooves ....................................................................... 75 2.6.1 Code Switching ............................................................................................................... 77 2.6.2 The Figurative Language of Urban Grooves .................................................................... 83 2.7 Conclusion............................................................................................................................. 88 vi Chapter 3: Celebrity Culture in the Context of Zimbabwe Urban Grooves Music and Interconnections with Youth Identities ....................................................................................................................... 91 3.1 Introduction ........................................................................................................................... 91 3.2 Defining Celebrity and Celebrity Culture ............................................................................... 92 3.3 Socio-Cultural Roles of Celebrities: Urban Grooves Musicians as Role Models for Zimbabwean Youth .......................................................................................................................................... 99 3.4 Urban Grooves Musicians as ‘Social Deviants’ .................................................................... 107 3.4.1 Celebrity Gossip and the Evaluation of ‘Celebrity Deviance’ ......................................... 108 3.5 Celebrity Culture and Interconnections with Youth Identities ............................................... 113 3.5.1 Urban Grooves Music and Representation of Youth Spatial Identities ............................ 120 3.5.2 Naming and Group Identity ........................................................................................... 127 3.6 Female Urban Grooves Musicians and their Role
Load more

Recommended publications
  • Axé: Multiple Meanings with a Sole Essence Found in the Unity of Body, Nature and Spirit
    Axé: Multiple Meanings with a Sole Essence Found in the Unity of Body, Nature and Spirit PLÍNIO TADEU DE GÓES, JR. hat does the word axé signify? Is there a way to create one Wdefinition for the word? The term is capable of multiple meanings. How do we unite all of these unique meanings within a single conceptual framework in order to better grasp each distinct understanding of the term? Can we reach a totalizing understanding of axé? Over the course of this paper, I will discuss the various meanings of the term in the hopes that this will add to our understanding of the complex relationships between religion, music, popular culture, and politics in the context of the African diaspora in the Americas. As opposed to discussing how some popular music finds its origin within Candomblé rituals, however, I go beyond such well-known histories and seek to explain how the theology of Candomblé manifests itself in ritual and popular music. Avoiding generalizations, I believe that African religious philosophies have played a primary role in generating a way of life in Northeastern South America and the Caribbean. I use the term axé to explore the above-mentioned relationships because the term appears simultaneously in Candomblé theology, Afro-Brazilian religious practices, and popular music. This article represents the first attempt to explicitly place this central facet of Candomblé theology as a crucial element at the heart of Afro-Brazilian culture. To some Brazilians, the term connotes a sort of upbeat reggae- infused dance music genre, danced at a frighteningly exhausting aerobic pace, from the Northeastern region of the country.
    [Show full text]
  • Forschungsbericht 2021
    Forschungsbericht bis 2021 Der erste Forschungsbericht der jungen Fachhochschule Clara Hoffbauer Potsdam ist ein ganz besonderes Zeugnis. So zeigt er doch die engagierte Forschungstätigkeit aller Wissenschaft- lerinnen und Wissenschaftler der Hochschule in den letzten Jahren und gibt einen aussage- kräftigen Gesamteindruck ihrer Forschungsprofile. Der Bericht verdeutlicht, dass immer mehr Drittmittelgeber von der Qualität der Forschungs- vorhaben der Kolleginnen und Kollegen überzeugt werden können. Er beweist, dass unser Forschungsleitbild mehr und mehr gelebt wird. Insbesondere bei den Forschungsprojekten fällt die Kooperationsfähigkeit und die Fähigkeit zur interdisziplinären Zusammenarbeit unserer Professorinnen und Professoren auf. Alle Forschungsprojekte zeichnen sich durch eine hohe Praxisrelevanz für diverse Handlungsfelder der Sozialen Arbeit aus. Allen Kolleginnen und Kollegen möchten wir hiermit unsere höchste Anerkennung aussprechen! Prof. Dr. Sandra Niebuhr-Siebert Prof. Dr. Karsten Kiewitt -Präsidentin- -Vizepräsident- Potsdam, 12.12.2020 Inhaltsverzeichnis Leitbild ................................................................................... 2 Forschungsprofil .................................................................... 3 Forschung in Zahlen ................................................................ 5 Laufende Projekte ................................................................... 6 Neu bewilligte Forschungsprojekte .......................................... 11 Aktuelle Buchprojekte ...........................................................
    [Show full text]
  • Enreporting on Zimbabwe's 2018 Elections
    Reporting on Zimbabwe’s 2018 elections A POST-ELECTION ANALYSIS Table of Contents ACKNOWLEDGEMENTS ii EXECUTIVE SUMMARY iii 1.0 INTRODUCTION AND BACKGROUND 1 PRESENTATION OF FINDINGS 8 2.0 MEDIA MONITORING OF THE NEWS AGENDA 8 3.0 MONITORING POLITICAL PLURALISM 13 4.0 GENDER REPRESENTATION DURING THE 2018 ELECTIONS 18 5.0 MEDIA CONDUCT IN ELECTION PROGRAMMING - BROADCAST MEDIA 24 6.0 MEDIA’S CONDUCT IN ELECTION REPORTING 28 7.0 CONCLUSION AND RECOMMENDATIONS 34 ANNEX 1: HUMAN RIGHTS VIOLATIONS REPORTED IN THE MAINSTREAM MEDIA 35 ANNEX 2: LIST OF ACRONYMS 37 REPORTING ON ZIMBABWE’S 2018 ELECTIONS - A POST-ELECTION ANALYSIS i Acknowledgements International Media Support and the Media Alliance of Zimbabwe This publication has been produced with the assistance of the are conducting the programme “Support to media on governance European Union and the Norwegian Ministry of Foreign Affairs. and electoral matters in Zimbabwe”. The content of this publication is the sole responsibility of Media Monitors and can in no way be taken to reflect the views The programme is funded by the European Union and the of the European Union or the Norwegian Ministry of Norwegian Ministry of Foreign Affairs. Foreign Affairs. International Media Support (IMS) is a non-profit organisation working with media in countries affected by armed conflict, human insecurity and political transition. ii REPORTING ON ZIMBABWE’S 2018 ELECTIONS - A POST-ELECTION ANALYSIS Executive Summary Zimbabwe’s 2018 harmonised national elections presented a irregularities, they struggled to clearly articulate the implications unique opportunity for the media and their audiences alike. In of the irregularities they reported and the allegations of previous election periods, the local media received severe criticism maladministration levelled against the country’s election for their excessively partisan positions, which had been characterized management body, the Zimbabwe Electoral Commission (ZEC).
    [Show full text]
  • HSRC CWC.Indb
    www.hsrcpress.ac.za from CRISIS! download Free WHAT CRISIS? THE MULTIPLE DIMENSIONS OF THE ZIMBABWEAN CRISIS Edited by Sarah Chiumbu and Muchaparara Musemwa Published by HSRC Press Private Bag X9182, Cape Town, 8000, South Africa www.hsrcpress.ac.za First published 2012 ISBN (soft cover): 978-0-7969-2383-7 ISBN (pdf): 978-0-7969-2384-4 ISBN (e-pub): 978-0-7969-2385-1 © 2012 Human Sciences Research Council The views expressed in this publication are those of the authors. They do not necessarily reflect the views or policies of the Human Sciences Research Council (‘the Council’) or indicate that the Council endorses the views of the authors. In quoting from this publication, www.hsrcpress.ac.za readers are advised to attribute the source of the information to the individual author concerned and not to the Council. from Chapter 1 is a revised version of a paper originally published in the Journal of Developing Societies 26(2): 165–206, copyright © Sage Publications (all rights reserved) and is reproduced here with the permission of the copyright holders and the publishers, Sage Publications India Pvt. Ltd, New Delhi. download Free Chapter 2 is a revised version of a paper by Mukwedeya T (2011) originally published as ‘Zimbabwe’s saving grace: The role of remittances in household livelihood strategies in Glen Norah, Harare’ in the South African Review of Sociology 42(1): 116–130, copyright © South African Sociological Association reprinted by permission of Taylor & Francis Ltd, http://www.tandfonline.com on behalf of the South African Sociological Association. Chapter 4 is a revised version of a paper originally published in M Palmberg & R Primorac (eds) Skinning the Skunk: Facing Zimbabwean Futures (2005), copyright © the editors and the Nordic Africa Institute (NAI) and is reproduced here with the permission of the editors and the NAI.
    [Show full text]
  • LAN Installation Sites Coordinates
    ANNEX VIII LAN Installation sites coordinates Item Geographical/Location Service Delivery Tic Points (List k if HEALTH CENTRE Site # PROVINCE DISTRICT Dept/umits DHI (EPMS SITE) LAN S 2 services Sit COORDINATES required e LOT 1: List of 83 Sites BUDIRIRO 1 HARARE HARARE POLYCLINIC [30.9354,-17.8912] ALL X BEATRICE 2 HARARE HARARE RD.INFECTIO [31.0282,-17.8601] ALL X WILKINS 3 HARARE HARARE INFECTIOUS H ALL X GLEN VIEW 4 HARARE HARARE POLYCLINIC [30.9508,-17.908] ALL X 5 HARARE HARARE HATCLIFFE P.C.C. [31.1075,-17.6974] ALL X KAMBUZUMA 6 HARARE HARARE POLYCLINIC [30.9683,-17.8581] ALL X KUWADZANA 7 HARARE HARARE POLYCLINIC [30.9285,-17.8323] ALL X 8 HARARE HARARE MABVUKU P.C.C. [31.1841,-17.8389] ALL X RUTSANANA 9 HARARE HARARE CLINIC [30.9861,-17.9065] ALL X 10 HARARE HARARE HATFIELD PCC [31.0864,-17.8787] ALL X Address UNDP Office in Zimbabwe Block 10, Arundel Office Park, Norfolk Road, Mt Pleasant, PO Box 4775, Harare, Zimbabwe Tel: (263 4) 338836-44 Fax:(263 4) 338292 Email: [email protected] NEWLANDS 11 HARARE HARARE CLINIC ALL X SEKE SOUTH 12 HARARE CHITUNGWIZA CLINIC [31.0763,-18.0314] ALL X SEKE NORTH 13 HARARE CHITUNGWIZA CLINIC [31.0943,-18.0152] ALL X 14 HARARE CHITUNGWIZA ST.MARYS CLINIC [31.0427,-17.9947] ALL X 15 HARARE CHITUNGWIZA ZENGEZA CLINIC [31.0582,-18.0066] ALL X CHITUNGWIZA CENTRAL 16 HARARE CHITUNGWIZA HOSPITAL [31.0628,-18.0176] ALL X HARARE CENTRAL 17 HARARE HARARE HOSPITAL [31.0128,-17.8609] ALL X PARIRENYATWA CENTRAL 18 HARARE HARARE HOSPITAL [30.0433,-17.8122] ALL X MURAMBINDA [31.65555953980,- 19 MANICALAND
    [Show full text]
  • Cahiers D'ethnomusicologie, 20
    Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 20 | 2007 Identités musicales Édition électronique URL : https://journals.openedition.org/ethnomusicologie/95 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 décembre 2007 ISBN : 978-2-88474-071-5 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 20 | 2007, « Identités musicales » [En ligne], mis en ligne le 31 décembre 2009, consulté le 21 septembre 2021. URL : https://journals.openedition.org/ethnomusicologie/95 Ce document a été généré automatiquement le 29 septembre 2020. Tous droits réservés 1 La notion d’identité musicale se réfère autant à celle d’appartenance – qui en fonde la dimension collective – qu’à celle de goût – qui en détermine la composante individuelle. Mais cette dernière renvoie à son tour, en partie, à la société. L’identité musicale ne saurait donc être acquise une fois pour toutes. Elle résulte de processus à la fois cumulatifs et sélectifs, mais aussi conscients et subconscients, imposés et librement choisis, dont la résultante constitue « l’image sonore » d’un groupe ou d’une personne en un lieu et un temps donnés. Les contributions réunies dans ce volume abordent la question selon des angles complémentaires ; elles tendent à démontrer le caractère fluctuant de la notion d’identité dans le monde contemporain, quitte à la remettre en cause. Quel que soit son contexte de production, la musique est généralement perçue comme un signe de référence à autre chose qu’elle-même. Ce qui nous intéressera surtout ici, ce sont les modes d’identification auxquels elle se prête. Cahiers d’ethnomusicologie, 20 | 2007 2 SOMMAIRE Dossier : identités musicales Distinction et identité musicales, une partition concertante Yves Defrance Le goût musical, marqueur d’identité et d’altérité Laurent Aubert La construction paramétrique de l’identité musicale Nathalie Fernando La communication musicale comme élément d’identité culturelle chez les Lobi du Burkina Faso Filippo Colnago Jeux et enjeux identitaires abyssins.
    [Show full text]
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
    [Show full text]
  • Transnational Habitus: Mariem Hassan As the Transcultural Representation of the Relationship Between Saharaui Music and Nubenegra Records
    Transnational Habitus: Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records Luis Gimenez Amoros Submitted in partial fullfilment of the requirements for the degree of Doctor of Philosophy, Rhodes University PhD (thesis) Department of Music and Musicology Supervisor: Dr Lee Watkins I Abstract This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul 1- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara.
    [Show full text]
  • The Wordy Worlds of Popular Music in Eastern and Southern Africa
    This article was downloaded by: [University of Liverpool] On: 06 January 2015, At: 06:11 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Language, Identity & Education Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/hlie20 The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy Sinfree Makoni a , Busi Makoni a & Aaron Rosenberg a a Pennsylvania State University , Published online: 16 Feb 2010. To cite this article: Sinfree Makoni , Busi Makoni & Aaron Rosenberg (2010) The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy, Journal of Language, Identity & Education, 9:1, 1-16, DOI: 10.1080/15348450903476824 To link to this article: http://dx.doi.org/10.1080/15348450903476824 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • Samba, Samba-Reggae Y Batucada En Barcelona1
    Inmigración y sociabilidad Grafo Working Papers, número en prensa, 1 Inmigración y sociabilidad: samba, samba-reggae y batucada en Barcelona1 Lisabete Coradini Navis / PPGAS / UFRN [email protected] Resumen Se trata de un trabajo sobre el espacio de sociabilidades, hibridismo cultural e inmigración de brasileños en Barcelona. Se analizó cómo la internacionalización de la música brasileña y la llegada de inmigrantes brasileños propició la creación de nuevos espacios sonoros y nuevas maneras de vivir la música en la ciudad catalana. Se realizó un mapeo de determinadas prácticas de consumo, producción y receptividad musical através del samba, samba-reggae y batucada (fiestas populares, efemérides, correfocs, carnaval, fiesta de Santa Eulalia, Semana Santa). Abstract This is a research on space and sociabilities, cultural hybridism and Brazilian migrants in Barcelona. I analyzed how Brazilian music internationalization and the arrival of Brazilian immigrants allowed the onset of new soundscapes and ways of experiencing music in the Catalan city. I carried out a mapping of certain consumption practices, production and reception of music through samba, reggae-samba and “batucada” (popular parties, correfocs, carnival, Santa Eulalia’s party, Easter). Sumario 1. Introducción 4. Batucadas 2. Samba 5. Bibliografía 3. Ni Samba, ni Reggae 1 Agradezco la agradable acogida en el GRAFO (Grup de Recerca en Antropologia Fonamental i Orientada) y la recepción de mi tutor, el Prof. Dr. Jorge Grau Rebolo, a quien admiro y respeto. Agradezco también a Sarah Palhares, Rita Stylus, Nega Luxo y Luciana Oliveira, quienes amablemente aceptaron ser entrevistadas y luego me acompañaron en este proyecto. ISSN: 2014-5993 DOI: 10.5565/rev/grafowp.38 2 Grafo Working Papers Lisabete Coradini El presente artículo está conectado al proyecto de postdoctorado titulado inicialmente Metodologías audiovisuales participativas de investigación en Antropología en Brasil y España, realizado en la Universidad Autónoma de Barcelona (UAB) sobre la tutoría del Prof.
    [Show full text]
  • A Biographical Study of Bishop Ralph Edward Dodge 1907 – 2008
    ABSTRACT Toward a New Church in a New Africa: A Biographical Study of Bishop Ralph Edward Dodge 1907 – 2008 This biography of a Methodist Bishop, Ralph Edward Dodge is an extensive look into how, as a missionary, mission board executive, and bishop, Dodge applied principles of indigenization he embraced as a young man preparing for missionary work to the complexities of ministry in Southern Africa when empires were withdrawing and new nations were forming. Written by an African, the dissertation examines Dodge’s impact upon the several countries in which he was involved as a churchman ‒ countries that would soon move from imperial subjugation to independence. Ralph Edward Dodge (1907–2008) was an American missionary and Bishop of the Methodist Church and United Methodist Church. He was born in Iowa and went to Africa in 1936 at age 29. He began his missionary career in the Portuguese colony of Angola. Except for four years during World War II, he would serve there until 1950. During the war, he continued his postgraduate work, obtaining two more degrees, including a PhD. Afterwards, Dodge and his family returned to Africa. In 1950, he was asked to serve as Executive Secretary for Africa and Europe at the Methodist Church’s Board of Missions in New York. Six years later, the Reverend Doctor Dodge would return to Africa as Bishop Dodge, the first Methodist Bishop elected by the Africa Central Conference, and the only American. His Episcopal Area included the colonial territories of Angola, Mozambique, and Southern Rhodesia (now Zimbabwe). When his twelve-year term was ended, he was elected “Bishop for Life.” Bishop Dodge remained in Africa until his “retirement” in 1968.
    [Show full text]
  • The Influence of Hip Hop on Zimbabwe's Urban Culture INFLUENCE of HIP HOP on ZIMBABWE’S URBAN CULTURE
    Sabeta aka Mau Mau: The Influence of Hip Hop on Zimbabwe's Urban Culture INFLUENCE OF HIP HOP ON ZIMBABWE’S URBAN CULTURE . The Influence of Hip Hop on Zimbabwe’s Urban Culture Shingirayi Sabeta aka Mau Mau Shingirayi Sabeta aka Mau Mau is one of the pioneers of Hip Hop in Zimbabwe. His debut single “Mau Mau” was released in 1997 and he followed his success with two albums, Mfecane (2001) and Coup D’Etat (2002). His early recordings defined Shona rap and was acclaimed for its politically conscious lyrics. Today, Shingirayi produces Gospel Hip Hop and his latest album appeared in 2010. The following piece is a transcription of his presentation at the Hiphop Symposium that took place at the University of Zimbabwe on February 27th, 2013, which is a personal reflection about the Zimbabwean Hip Hop scene, its beginnings in the 1980s and the directions it is currently taking. We live in a world that is dominated and heavily influenced by one thing that none of us can escape: mass media. If you live in a city or town in Zimbabwe it means that on a daily basis you will be exposed to what is going on globally through newspapers, magazines, radio, television, the computer and now – your mobile phone. So you effectively have the world on tap: just a click away. And just as Western culture as a whole filters to us here in Zimbabwe through mass media, so does the sub-culture of Hip Hop. Most of us know Hip Hop as a type of music, a dance, a style of dress, a way of speaking, an attitude.
    [Show full text]