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Journal articles on the topic 'Artists – Zimbabwe'

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

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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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2

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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11

Kerr, David. "Women as Artists in Contemporary Zimbabwe, by Kerstin Bolzt, andTheatre, Performance and New Media in Africa, ed. Susan Arndt, Eckhard Breitinger, and Marek Spitczok von Brisinski." Research in African Literatures 40, no. 1 (2009): 166–70. http://dx.doi.org/10.2979/ral.2009.40.1.166.

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12

Nembaware, Shadreck. "NOVEL-FILM INTERFACE AND POSTCOLONIAL DYSTOPIA: A COMPARATIVE ANALYSIS OF TSITSI DANGAREMBGA’S NOVEL AND FILM, NERVOUS CONDITIONS AND NERIA." Imbizo 5, no. 1 (2017): 52–59. http://dx.doi.org/10.25159/2078-9785/2829.

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This paper comparatively and contrastively explores two art forms, the novel and film, by the same artist, Tsitsi Dangarembga, with a view to gauging their effectiveness in con­figuring Zimbabwe’s postcolonial dispensation. What is gained and what is lost when an artist shifts from one art form to another? Dangarembga belongs to the protest tradition of Zimbabwean postcolonial artists and the conceptual fibre of this tradition is notably the dystopian themes like disillusionment, cultural confusion, sex-role stereotyping, as well as social power relations. Dangarembga’s canonical novel, Nervou
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Chipaike, Ronald, and Eugenia Marufu. "Chinese Construction Companies and the Question of Labour Rights in Zimbabwe." Journal of Asian and African Studies 55, no. 8 (2020): 1163–75. http://dx.doi.org/10.1177/0021909620912777.

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This paper focuses on the question of labour rights in Chinese construction companies in Zimbabwe. Utilizing data collected from two companies through interviews with mainly artisans, the study established general discontentment with conditions of work in these companies by local workers. Concerns were raised over lack of adequate protective equipment/clothing, low salaries and poor communication systems among others. The government of Zimbabwe was urged (by respondents) to monitor the operations of Chinese companies in the sector and ensure that they follow the law in letter and spirit. The s
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14

Nyoni, Vulindlela P. E. "Diaspora in dialogue: Zimbabwean artists in South Africa." South African Journal of Philosophy 37, no. 4 (2018): 410–22. http://dx.doi.org/10.1080/02580136.2018.1537225.

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15

Bachisi, Ivan, and Barbara C. Manyarara. "VOICES FROM THE WILDERNESS: ZIMBABWEAN DIASPORA LITERATURE AN EMERGING CATEGORY." Latin American Report 30, no. 1 (2017): 11–28. http://dx.doi.org/10.25159/0256-6060/2171.

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This article draws attention to the existence and emergence of a body of fictional works produced on Zimbabwe’s Diaspora between the years from 2000 to 2014. It is the contention of the article that these literary works represent an emerging category within the general canon of Zimbabwean literature called Zimbabwean Diaspora literature. Through the application of existing conceptual and theoretical frameworks based on key characteristics of diasporic writings, the article concludes that Zimbabwean Diaspora literature is in its embryonic stage of development since it typically exhibits not onl
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16

Chitando, Anna, and Maurice Taonezvi Vambe. "Children's welfare in Zimbabwean music: Insights from selected artists." Muziki 10, sup1 (2013): 122–34. http://dx.doi.org/10.1080/18125980.2013.852749.

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17

Mason, Kelvin. "Informal initiative among Zimbabwe's artisans." Small Enterprise Development 2, no. 4 (1991): 50–53. http://dx.doi.org/10.3362/0957-1329.1991.042.

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18

Bennell, Paul. "The Cost-Effectiveness of Alternative Training Modes: Engineering Artisans in Zimbabwe." Comparative Education Review 37, no. 4 (1993): 434–53. http://dx.doi.org/10.1086/447208.

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19

Ncube, Gibson, and Gugulethu Siziba. "Compelled to Perform in the ‘Oppressor’s’ Language? Ndebele Performing Artists and Zimbabwe’s Shona-Centric Habitus." Journal of Southern African Studies 43, no. 4 (2017): 825–36. http://dx.doi.org/10.1080/03057070.2017.1313609.

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20

Makombe, Rodwell. "Literature as a Medium for Social and Political Activism: The Case of Mashingaidze Gomo’s A Fine Madness." African Studies Review 60, no. 2 (2017): 115–38. http://dx.doi.org/10.1017/asr.2017.51.

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Abstract:Over the years, literary scholars have engaged in heated debates on the role literary artists should play in society. In the African context, this debate has been championed by scholars such as Ngũgĩ wa Thiong’o, Chinua Achebe, and Okot p’ Bitek, among others. The central bone of contention has always been the question of self-narration. How should African writers narrate the African story (-ies) against the backdrop of slavery, colonialism, and neoliberal imperialism? In the context of these debates, this article seeks to read A Fine Madness by the Zimbabwean writer Mashingaidze Gomo
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21

Nhatuve, Diocleciano. "Gênero e possessivos em português língua estrangeira." Fórum Linguístico 15, no. 2 (2018): 3043–54. http://dx.doi.org/10.5007/1984-8412.2018v15n2p3043.

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O objetivo deste artigo é de descrever a concordância nominal de gênero entre os possessivos e os nomes em Português Língua Estrangeira. Analisam-se SNs, em que os possessivos apresentam anomalias de concordância, escritos por estudantes de Português na Universidade do Zimbabwe. Este grupo de estudantes apresenta um conhecimento linguístico prévio de Shona e de Inglês, sistemas diferentes do Português, o que propicia a ocorrência de desvios. O estudo baseia-se nas teorias de variação linguística e de ensino aprendizagem de línguas, por oferecerem explicações para a ocorrência de desvios na aqu
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22

Mapuranga, N. "A New Race of Pseudomonas syringae pv. tabaci on Tobacco in Zimbabwe." Plant Disease 82, no. 12 (1998): 1404. http://dx.doi.org/10.1094/pdis.1998.82.12.1404a.

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Two forms of Pseudomonas syringae pv. tabaci cause wildfire (Tox+) and angular leaf spot (Tox-) diseases of tobacco in Zimbabwe. Two races of the pathogen (races 0 and 1) occur in Zimbabwe (4). Two groups of cultivars are available: one with resistance to race 0 only, tbe second with resistance to races 0 and 1 (4). P. syringae pv. tabaci was first observed on cultivars with resistance to races 0 and 1 in 1993, and infection on these cultivars is now widespread. The bacteria isolated from the infected plants were gram-negative rods and produced fluorescent pigment on King's medium B. Levan-oxi
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23

Mavesera, M., and D. Magege. "Fostering posterity and socio-economic transformation through the prism of indigenous languages in youth training: A participatory approach." Southern Africa Journal of Education, Science and Technology 5, no. 1 (2020): 74–92. http://dx.doi.org/10.4314/sajest.v5i1.39825/sajest.2020.001.

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This paper reviews thee mediating role of indigenous languages in vocational skills and national development in the Zimbabwean context. In the wake of the current outcry for jobs, employment creation and entrepreneurship the need for new strategies to revive industry by focusing on community resources has become imperative. Youths need to turn to themselves as repositories of skills required for operationalising dormant and fledgling industries. In pursuit of this new strategy they need the expertise of local artisans. The initiative, adopted in the spirit of national consciousness, should yie
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24

Tembo, Charles, Allan T. Maganga, and Aphios Nenduva. "MUSICIAN AS CULTURE HERO: EXPLORING MALE-FEMALE RELATIONS IN PACHIHERA’S AND SIMON CHIMBETU’S SELECTED SONGS." Commonwealth Youth and Development 13, no. 2 (2016): 129–42. http://dx.doi.org/10.25159/1727-7140/1152.

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This article is a comparative exposition of positive male-female relations in lyrical compositions of selected Zimbabwean singers. Particular attention is on one female voice, Pah Chihera and a male voice, Simon Chimbetu. The argument avowed in this article is that the selected musicians are sober in their appreciation of gender relations in African ontological existence. It further argues that, unlike feminists who view male-female relations as antagonistic, the two musicians celebrate cordial and mutual cohesion, which is part of Shona or African heritage. Against that background, the musici
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25

Hawkes, D., FE Brown, K. Bishop, et al. "Reviews: Solar Building Architecture, Artisans and Architects: The Ruskinian Tradition in Architectural Thought, Environmental Planning for Site Development, Envisioning Information, Rural Development and Planning in Zimbabwe, Rural Development and Planning in Zimbabwe, Town Planning Responses to City Change, Introductory Readings in Geographic Information Systems, Analytical and Computer Cartography, Urban Labour Markets: Reviews of Urban Research." Environment and Planning B: Planning and Design 19, no. 1 (1992): 107–18. http://dx.doi.org/10.1068/b190107.

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26

Vhutuza, Ephraim. "Manifestations of State Censorship in Zimbabwean-Written Plays and Performances." Commonwealth Youth and Development 15, no. 1 (2018). http://dx.doi.org/10.25159/1727-7140/3308.

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The paper focuses on the legal banning and prohibition of plays and/or theatre productions, and, in extreme cases, the arrest and harassment of artists in Zimbabwe by a variety of state actors and instruments, which include the Board of Censors, the National Arts Council of Zimbabwe, the police, and, in some cases, local politicians of the ruling party, ZANU PF. Citing concrete historical examples of such cases, the paper illustrates how these state actors and/or instruments have been used to suppress content in both play scripts and/or performances. I argue that although there was play and pe
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27

Joseph, Dione. "Performing Difference Differently: New Ways of Doing, Old Ways of Seeing." Te Kaharoa 13, no. 3 (2019). http://dx.doi.org/10.24135/tekaharoa.v13i3.255.

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In our daily lives, we perform difference differently. ‘We’ here refers to a collective of cosmopolitan artists, members of my company: JK Productions: He Korero Ngā Tahi. JK Productions was established in 2017 as a platform for developing diverse theatre and other artistic work in Auckland, New Zealand. Our first major production was America Rex by Tom Minter, which I directed for a developmental presentation at The Auckland Performing Arts Centre (TAPAC) in August 2018. Our company was extraordinarily diverse, especially by New Zealand standards, a mix of tangata whenua and tauiwi, including
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28

Kwenda, Kumbirayi, Noreen Sarai, and Tinashe Gwendolyn Zhou. "A Framework for Social Media Data Mining and Analysis to Product and Service Development- Case of The Zimbabwean National Art Gallery." International Journal of Scientific Research in Computer Science, Engineering and Information Technology, February 2, 2021, 194–209. http://dx.doi.org/10.32628/cseit217121.

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Social networks have become a vital component in personal life. People are addicted to social network features, updating their profile page and collaborating virtually with other members have become daily routines. Web data mining is a new trend in current research studies. This study sought to develop a framework for social media data mining and analysis for the betterment and advancement of products (art effects) and services (exhibitions) with in the contemporary art industry of Zimbabwe through a case study of the Zimbabwean National Art Gallery. The information for this paper was gathered
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29

Mapara, Jacob, and Beatrice Mapara. "Making the Chain Longer and Stronger: An Intertextual Reading of Ignatius Mabasa’s Mapenzi." Imbizo 9, no. 1 (2019). http://dx.doi.org/10.25159/2078-9785/4625.

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Literary texts are at times anchored in others that have come before them. This article thus notes that the relationship that exists between written works as well as oral works has been an abiding phenomenon since the emergence of the written word, whether it is Sumerian, Greek or Roman. This practice, also called intertextuality, is prevalent today in African literature. Informed by this tradition of intertextuality, the authors analyse Ignatius Mabasa’s novel, Mapenzi, and argue that the use of direct and indirect references to other creative works by the writer goes a long way in enhancing
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30

Miller, Andie. "Multiculturalism and Shades of Meaning in the New South Africa." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1963.

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I hate being misunderstood. I guess we all do, but it goes with the territory. I use the word coloured, and he seems offended: 'We Brits don't say 'coloured'. It's regarded as patronising. We say black, if we say anything. And if we do it's for reasons of simple practicality. It doesn't matter. ' Of course, what he seems to be missing, is that the word coloured in South Africa now refers less to skin colour, and more to a distinct cultural group, with it's own language (a dialect of Afrikaans), food (of Malay origin), and music. To say black in this context would be inaccurate, and cause confu
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