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“Seiko Musina Morari?” : the Carnivalesque Modes of the Pungwe Institution in Selected Shona Novels

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“Seiko Musina Morari?” : the Carnivalesque Modes of the Pungwe Institution in Selected Shona Novels “SEIKO MUSINA MORARI?” : THE CARNIVALESQUE MODES OF THE PUNGWE INSTITUTION IN SELECTED SHONA NOVELS by ADVICE VIRIRI Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of AFRICAN LANGUAGES at the UNIVERSITY OF SOUTH AFRICA PROMOTER : PROFESSOR D. E. MUTASA JOINT-PROMOTER : PROFESSOR M. T. VAMBE DECEMBER 2013 DECLARATION Student number : 3106-824-3 I, Advice Viriri, declare that “Seiko Musina Morari?” : The Carnivalesque Modes of the Pungwe Institution in Selected Shona Novels, is my work and that the sources used or quoted have been indicated and acknowledged by means of complete references. 20 DECEMBER 2013 …………………………………… …………………………………. Signature : Date. ii ABSTRACT This study is an analysis of the depiction of Pungwe (Night Vigil) in selected Shona novels and songs. The study uses Bakhtin’s description of a historical phenomenon-cum-literary theoretical framework called the carnivalesque. The theory’s tenets apply to the analysis of Shona novels and songs. It is demonstrated that although the depiction of the Pungwe in the literature varies between or among Shona authors, there is general consensus that the carnivalesque elements of the Pungwe encouraged a subversion that undermines virtually all categories of social privilege in the novels and the songs. The carnivalesque theory encourages analysis of fiction and songs that produce the pluralising of meanings of the Pungwe in the Shona novels and songs that are rendered semantically unstable. Narrative instability is transgressive and its liberating potential manifests itself through the different activities and energies mobilised at the Pungwe. As a carnival square, the Pungwe institution found in the Shona novel and songs is portrayed as the main site for resisting imperial domination in Rhodesia. Linked to the carnivalesque is the idea of dialogism. The study reveals that the dialogism experienced at the Pungwe as depicted in the Shona novels and in some popular songs contain multiple voices that combine and manifest diversity of ideological perspectives. Pungwe narratives in the novels and songs are represented as liminal spaces where plurality of political consciousness on the historical causes and trajectories of the liberation struggle in Zimbabwe are revealed. The study contributes to the scholarship on the Shona novel by revealing how Pungwe which is an oral institution finds permanent residence in the narrative interstices of the Shona novel. KEY TERMS: Pungwe, Chimurenga War, dialogism, carnival, carnivalesque, heteroglosia, polyphony, chronotope, Shona novels, Songs iii DEDICATION This thesis is dedicated to my wife, Agnella and my children; Anesu Dephine, Rukudzo Advice, Anotida Blessing and Ropafadzo Grace. iv ACKNOWLEDGEMENTS Early 2011, I submitted an article in UNISA Latin American Report, a Journal for Latin American Studies entitled “The Depiction of Pungwe Meetings (Night Vigil) as Theatre of the Oppressed in Selected Zimbabwean War Literature” that was being convened by Professor Maurice Taonezvi Vambe. After his thought provoking comments, he encouraged me to pursue the theme of the interface of Pungwe and the Shona novels and songs for a PhD study. He then introduced me to Professor Davie E Mutasa, an enabler whose enthusiastic support of the thesis from its inception was invaluable. In September 2011, the two Professors, Mutasa and Vambe, supervisor and co-supervisor respectively, accepted the burden of overseeing work on what at first seemed eccentric and unpromising topic, but encouraged me unstintingly throughout. They made valuable comments on material underlying parts of this thesis. I am especially grateful for their wise counsel which makes words fail to express my delight in realising how wonderful their thoughtful and modest expositions were. They were quite engaging and informative. This thesis has profited greatly from their suggestions and interactions which immensely provided helpful input to the application of Bakhtin’s theory of the carnivalesque in understanding the depiction of Pungwe in the Shona novel and some songs from Songs that Won the Liberation War (1982). To the Vice Chancellor, Professor Ngwabi Bhebe and Midlands State University management, I express my deep gratitude for the generous funding. I also wish to extend my sincere appreciation to the UNISA Financial AID Bureau for generously funding my study up to completion. To UNISA library staff, I say thank you. Professor Doreen Z Moyo, Executive Dean – Research & Post Graduate Studies, has been indispensable, patient and cheerful whenever I mounted pressure concerning my travelling and subsistence allowances. My colleagues in the Faculty of Arts, Prof Willie L Chigidi, Dr Vongai Zvidenga Nyawo Shava, Dr Gerald Mazarire, Dr Collen Sabau and all PhD holders at this university, you inspired me. To all my contemporary PhD students, in particular Ephraim Vhutuza, Mandie Parichi, Phillip Mpofu, Vimbai Matiza and Hazel Ngoshi, you have with firmness but unfailing tact instigated and encouraged me to carry on with this academic pursuit, though the task was arduous, strenuous and tortuous. You helped me to be eager. My debt to Dr Terrence Motida Mashingaidze, an uncle, a friend, my deputy and everything, one who was not only generous with his time and energy in discussing ideas but always instructive and introduced me to a richer world of thought. You fired me with an urge to explore and navigate the most relevant aesthetic to this study. I am deeply grateful for your continued encouragement and most helpful exchange of ideas. This is no little wonder why our elders said “Big Mountains share mist” (Zvikomo zvikuru zvinopanana mhute). More than I can adequately express, I am most grateful to my wife, Agnella Viriri’s (Nee Chapwanya) unfaltering love, support and pillar of my strength especially during daunting times when she was also pursuing her Master of Music Degree with University of Witwatersrand, South Africa from January 2012 to February 2014. Her astute comments and invaluable encouragements did not only nurture my interest in this topic but also kept my perspectives in balance. Special thanks go to my children, Anesu Dephine, Rukudzo Advice (Jnr), Anotida Blessing and Ropafadzo Grace, for their forbearance and moral support. To them, I can only say, To God, be the glory and only to him be the praise. v TABLE OF CONTENTS Declaration…………………………………………………………………………. ii Abstract……………………………………………………………………………… iii Dedication…………………………………………………………………………… iv Acknowledgements…………………………………………………………………. v Table of contents ……………………………………………………………………. vi CHAPTER ONE: INTRODUCTION……………………………………………… 1 1.1 Preamble………………………………………………………………………….. 1 1.2 Statement of the Problem………………………………………………………… 5 1.3 Aim of the Study…………………………………………………………………. 7 1.3.1 Objectives of the Study………………………………………………………… 7 1.3.2 Research Questions…………………………………………………………….. 8 1.4 Justification of the Study…………………………………………………………. 8 1.5 Literature Review ………………………………………………………………… 10 1.6 Research Methodology …………………………………………………………… 14 1.7 Theoretical Framework: Theorising Pungwe on Bakhtinian Carnivalesque Lens. 14 1.8 Scope of the study………………………………………………………………… 18 1.8.1 Ethical Considerations …………………………………………………………. 19 1.9 Definition of Terms ………………………………………………………………. 20 1.10 Chapter Organisation……………………………………………………………. 20 1.11 Conclusion……………………………………………………………………….. 23 vi CHAPTER TWO LITERATURE REVIEW………………………………………………24 2.1 Introduction………………………………………………………………………… 24 2.2 Theoretical Repertoire at Pungwe Defined ……………………………………….. 25 2.3 The Zimbabwean Ideology of Chimurenga …………………………………… 37 2.4 Pungwe and the Pre-Colonial Existence of African Theatre………………….. 39 2.5 Pungwe: Patriotic History and the Trajectories of Nationalism ……………… 43 2.6 Theorising the Interface between Pungwe and the Shona Novel …………….. 49 2.7 The Gaps in scholarship that this Research ought to fill …………………….. 52 2.8 Conclusion……………………………………………………………………… 54 CHAPTER FOUR: THEORETICAL FRAMEWORK ……………………………… 56 3.1 Introduction………………………………………………………….…………… 56 3.2 Bakhtin’s theory of the Carnival ……………………………………………….. 57 3.3 Pungwe: Theatre for Social Reconstruction ……………………………………. 59 3.4 Bakhtins’s Concept of Heteroglossia …………………………………………. 67 3.5 Bakhtin’s Theory of Carnivale/ Carnivalesque ………………………………. 68 3.6 Carnivalesque, the Pungwe and the Shona Novel ……………………………… 71 3.7 Bakhtin’s Concept of the Chronotope ………………………………………….. 74 3.8 Bakhtin’s Concept of Dialogsm ………………………………………………… 75 3.9 Conclusion………………………………………………………………………… 77 CHAPTER FOUR RESEARCH METHODOLOGY……………………………………… 80 4.1 Introduction……………………………………….………………………………. 80 4.2 Research Approach and Design ………………………………………………….. 80 4.3 Qualitative Method …………………………………………………………......... 81 4.4 The Power, significance and relevance of qualitative method to this study……. 82 vii 4.5 Novels to be analysed …………………………………………………………… 83 4.6 Conclusion………………………………………………………………………... 85 CHAPTER FIVE: PRESENTATION AND ANALYSIS OF DATA ……………… 86 5.1 Introduction ………………………………………………………..……………… 86 5.2 Pungwe as popular Public Sphere ………………………………………………. 88 5.3 The Depiction of setting up Pungwe. ……………………………………………. 88 5.4 The relationship between the masses and the guerrillas at the Pungwe ……… … 91 5.5 Pungwe and depiction of Conscientisation sessions in the Shona Novel………. 99 5.6 Pungwe and the peasant consciousness during the struggle as depicted in the Shona Novel……………………………………………………………. 107 5.7 Pungwe and punishment in the Shona Novel………………………………………
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