Relevant bibliographies by topics / Artists – Zimbabwe

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  1. Journal articles

Academic literature on the topic 'Artists – Zimbabwe'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Artists – Zimbabwe"

1

Mabuto, Kudzai, and Umali Saidi. "Locating the nihilistic culture within Zimdancehall in contemporary Zimbabwe." DANDE Journal of Social Sciences and Communication 2, no. 2 (2018): 57–74. http://dx.doi.org/10.15641/dande.v2i2.46.

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A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country’s increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align them
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CHIKONZO, KELVIN. "From Panic to Reconciliation: Protest Theatre and the State in Zimbabwe, 1999–2012." Theatre Research International 41, no. 3 (2016): 218–30. http://dx.doi.org/10.1017/s0307883316000390.

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Between 1999 and 2008, Zimbabwe was in political and economic crisis. A number of theatre-makers responded by creating several different kinds of protest theatre. They did this to compensate for a media monopoly by the state, to promote active citizen engagement in politics, and to promote political change. This article first surveys developments in protest theatre at this time. It then draws attention to a brand of protest theatre that emerged after the crisis in Zimbabwe, after the formation of a Government of National Unity. Reconciliatory protest theatre, I explain, was concerned with issu
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3

Gwekwerere, Gadziro. "Gospel Music as a Mirror of the Political and Socio-Economic Developments in Zimbabwe, 1980-2007." Exchange 38, no. 4 (2009): 329–54. http://dx.doi.org/10.1163/016627409x12474551163619.

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AbstractThis paper explores, analyses and discusses Zimbabwean gospel song themes from 1980 up to 2007 in relation to the Zimbabwean political and socio-economic situations in the country. The history of the socio-economic and political development of Zimbabwe during 1980-2007 would certainly be incomplete without including gospel music. Until about the mid-1980s, the general atmosphere in the newly-independent state of Zimbabwe was characterized by liberation euphoria and great optimism for the future. Equally so, local gospel music during this period was largely celebrative and conformist as
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4

Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often cont
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5

MapurangaChitando, TapiwaEzra. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe." Religion and Theology 13, no. 1 (2006): 72–89. http://dx.doi.org/10.1163/102308012x13397496507667.

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AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study
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6

Rohmer, Martin. "Form as Weapon: the Political Function of Song in Urban Zimbabwean Theatre." New Theatre Quarterly 16, no. 2 (2000): 148–54. http://dx.doi.org/10.1017/s0266464x0001366x.

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In Zimbabwean society, what may not be spoken sometimes becomes acceptable in song – whether to avoid social taboos and enable a wife to complain against her mother-in-law, or in broadening the boundaries of political protest. In this article, Martin Rohmer looks back to the ways in which song enabled forms of protest against forced labour and other aspects of colonial rule – in times of outward compliance as well as of direct struggle – and considers how urban theatre groups in independent Zimbabwe have adapted the tradition to their own, contemporary ends. Martin Rohmer spent almost two year
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7

Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.

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AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape th
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8

Magosvongwe, Ruby. "MATHIAS MHERE’S FUNCTIONAL USES OF GOSPEL MUSIC IN THE ZIMBABWEAN POST-2000 MALADIES." Imbizo 6, no. 1 (2017): 67–79. http://dx.doi.org/10.25159/2078-9785/2798.

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The article critiques Mathias Mhere’s gospel music from an Afrocentric perspective within the context of complexities and maladies that have impacted negatively on the majority’s livelihoods in Zimbabwe’s post-2000 period. The maladies have seen society marshalling different strategies and oral art forms to keep people’s spirits buoyant. Oral art forms have always been at the centre of African experience, constituting a repository of the philosophy of life as desired, imagined, and treasured among most indigenous families and communities. In the absence of the oral folklore and oral ar
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9

Chiwara, Davison, and Richard Mudariki. "Conserving contemporary artworks: perspectives of artists and curators at the National Art Gallery of Zimbabwe." Studies in Conservation 61, sup2 (2016): 280–82. http://dx.doi.org/10.1080/00393630.2016.1182698.

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10

Martinek-Atatah, Claudia. "Bolzt (Kerstin), Women as Artists in Contemporary Zimbabwe. Bayreuth : Bayreuth African Studies, nº84, 2007, 319 S., bibl., index – ISBN 978-3-939661-05-4." Études littéraires africaines, no. 27 (2009): 111. http://dx.doi.org/10.7202/1034326ar.

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