Academic literature on the topic 'Dance zimbabwe'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Dance zimbabwe.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Dance zimbabwe"
1
Mapira, Nesta Nyaradzo, and Made Mantle Hood. "Performing Authenticity And Contesting Heritage In The UNESCO-Inscribed Jerusarema/Mbende Dance Of Zimbabwe." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 1. http://dx.doi.org/10.31091/lekesan.v1i1.340.
Full textAbstract:
In African societies, traditional dances form and shape a multitude of cultural expressions that reflect socio-cultural status, stalwart traditions and degrees of heritage maintenance. Due to colonisation, westernisation and Christianity, the performative aesthetics of many African traditional dances have been drastically modified over time. One such traditional dance in Zimbabwe that has undergone continual socio-cultural and aesthetic change is Jerusarema/Mbende from the Murehwa and Uzumba-Maramba-Pfungwe districts of Mashonaland Eastern province. In 2005, The Mbende Jerusarema Dance of Zimbabwe was proclaimed on the United Nations Educational Scientific and Cultural Organisation (UNESCO) list of Masterpieces of Oral and Intangible Heritage of Humanity. Authentic elements of the dance were compiled by the Zimbabwe National Oral and Intangible Cultural Heritage (ZNOICH) committee in an effort to safeguard it against change. This safeguarding led the Jerusarema/Mbende dance along a contested path of endorsement and utilisation in multiple contexts by some performance ensembles such as Swerengoma, Ngomadzepasi, Zevezeve, Shingirirai and Makarekare as promoted by prominent dance festivals. These ensembles assert different agendas through music, props, instruments and dance movements. Drawing upon documentary video evidence from the National Arts Council of Zimbabwe and interviews, this paper evaluates the extent to which the authentic elements of the Jerusarema/Mbende dance inscribed on the UNESCO list have been safeguarded in formalised performances from 2013 to 2015. Video recordings from this period showing continuous participation of Ngoma Dzepasi, Makarekare and Shingirirai are used to assess similarities and differences from the fixity of authentic elements. We argue that UNESCO’s recognition of the Jerusarema/Mbende dance as intangible cultural heritage has, on the one hand, revived and maintained some characteristics of this dance but, on the other hand, gradually compromised innovative aesthetic music and dance elements introduced by inheriting generations.
2
Perman, Tony. "Muchongoyo and Mugabeism in Zimbabwe." African Studies Review 60, no. 1 (March 6, 2017): 145–70. http://dx.doi.org/10.1017/asr.2017.4.
Full textAbstract:
Abstract:This article explores the influence of nationalism and modernity in contemporary Zimbabwe and on the musical lives of Zimbabweans through an examination ofmuchongoyo, the signature dance–drumming tradition of Zimbabwe’s Ndau communities. Invoking the concept of “Mugabeism,” it illustrates how Shona nationalism and expectations of modernity have partially reshapedmuchongoyoin the turmoil of contemporary Zimbabwe. As indigenous practices serve political ends, their values shift. Consequently, there are now twomuchongoyos: one rooted in the unique history and values of Zimbabwe’s Ndau community, the other emerging from decades of political employment of indigenous music for the sake of nationalist discourse.
3
Rugwiji, Temba T. "REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE." Journal for Semitics 25, no. 1 (May 9, 2017): 72–98. http://dx.doi.org/10.25159/1013-8471/2527.
Full textAbstract:
The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.
4
Gonye, Jairos. "Mobilizing Dance/Traumatizing Dance:Kongonyaand the Politics of Zimbabwe." Dance Research Journal 45, no. 1 (April 2013): 65–79. http://dx.doi.org/10.1017/s0149767712000277.
Full textAbstract:
The article analyzeskongonyadance as it occurs in everyday Zimbabwean spaces. Tracing its origins, utility, and metamorphosis, I studiedkongonyadance in its performed world; observedkongonyabeing danced at a pungwe, a gala, and a political function; and watchedkongonyabeing performed on state television. Through participant-observations, respondent testimonies, and personal interviews of dancers and nondancers for all these contexts, pertinent data onkongonyawere collected. The article contends thatkongonyahas both a human and inhuman face, having been transformed from a dance for the people into a dance against the people—a phenomenon at the mercy of political manipulators. Despitekongonyahaving creatively promoted the nationalist cause of the 1970s Zimbabwean liberation party,kongonyahas been abused in the postcolonial state in an attempt to placate citizens, suppress dissension, and (also) in the hopes of reinvigorating the waning fortunes of the ruling party, ZANU PF. Initially,kongonyareflected an apparently more national outlook than an ethnic one, but lately it has revealed rather hegemonic traits. Regrettably, politicians sought to manipulate the malleability of dance and harnesskongonya's national character to an exclusionist political agenda.
5
Asante, Kariamu Welsh. "The Jerusarema Dance of Zimbabwe." Journal of Black Studies 15, no. 4 (June 1985): 381–403. http://dx.doi.org/10.1177/002193478501500403.
Full text
6
Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.
Full textAbstract:
AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.
7
Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.
Full textAbstract:
Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.
8
Gonye, Jairos, and Nathan Moyo. "Traditional African dance education as curriculum reimagination in postcolonial Zimbabwe: a rethink of policy and practice of dance education in the primary schools." Research in Dance Education 16, no. 3 (May 11, 2015): 259–75. http://dx.doi.org/10.1080/14647893.2015.1036020.
Full text
9
Gonye, Jairos. "Interpreting Zimbabwe's Third Chimurenga Through Kongonya: Representations of Post-2000 Zimbabwean Dance in Buckle's Beyond Tears: Zimbabwe's Tragedy and Mtizira's Chimurenga Protocol." Dance Research Journal 52, no. 2 (August 2020): 26–40. http://dx.doi.org/10.1017/s0149767720000157.
Full textAbstract:
The Zimbabwean writers Catherine Buckle and Nyaradzo Mtizira reimagine kongonya dance in their works Beyond Tears: Zimbabwe's Tragedy (2002) and The Chimurenga Protocol (2008), respectively. Both the European-born Buckle and the black Zimbabwean Mtizira harness the dance to evoke the post-2000 jambanja experiences associated with Zimbabwe's controversial “Third Chimurenga,” or the fast-track land reform program, beginning in 2000. Their contrasting depictions of dance epitomize the differing views on Zimbabwe's land reform program. Largely, whereas Buckle's novel is a memoir which personalizes a farmer's encounters with dancing African/Zimbabwean “land invaders,” Mtizira's is a panegyric that collectively reimagines a nation's defiant revolution against purported forces of Western imperialism. Both writers’ representations of the post-2000 Zimbabwe's dance performances are therefore colored and compromised by racial subjectivity.
10
Rohmer, Martin. "Wole Soyinka's ‘Death and the King's Horseman’, Royal Exchange Theatre, Manchester." New Theatre Quarterly 10, no. 37 (February 1994): 57–69. http://dx.doi.org/10.1017/s0266464x00000099.
Full textAbstract:
In large part due to the relative lack of productions in Europe, the plays of Wole Soyinka have mostly been approached from a literary point of view rather than analyzed as theatrical events. Because the plays rely heavily on non-verbal conventions, this neglect of visual and acoustic patterns promotes an incomplete understanding of Soyinka's idea of theatre. Here, for the first time, a play by Soyinka is analyzed from the point of view of performance – specifically, the production of Death and the King's Horseman staged at the Royal Exchange Theatre, Manchester, in 1990. Martin Rohmer examines the transformation of playscript into mise-en-scène, focusing in particular on the use of music and dance, but looking also at the production as an intercultural event – asking not only how far a European company has to rely on African performing skills, but how far a European cast and audience is capable of a proper understanding of the play. This article is a revised version of a lecture delivered at the Conference of the Association for the Study of the New Literatures in English, held in Bayreuth in June 1992. Martin Rohmer studied Drama, German Literature, Anthropology, and Philosophy in Munich, and Theatre, Film and TV Studies at the University of Glasgow, before completing his MA in Munich in 1992. Presently he is a Research Assistant at the University of Bayreuth, where he is working on a PhD on the performing arts in Zimbabwe.
Dissertations / Theses on the topic "Dance zimbabwe"
1
Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.
Full textAbstract:
This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
2
Felix, João Batista de Jesus. "\"Chic Show e Zimbabwe e a Construção da Identidade nos Bailes Black Paulistanos\"." Universidade de São Paulo, 2000. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-08072010-135922/.
Full textAbstract:
O propósito deste trabalho é fazer um estudo sobre a construção da identidade dos freqüentadores dos bailes black; o da Chic Show1, que ocorre no salão Clube da Cidade2 e o baile da Zimbabwe, realizado no salão Espaço Atual3. O que se pretende verificar a partir desses dois grupos é se as pessoas se definem apenas como negro ou branco, como defende o Movimento Negro Unificado (MNU), ou se existe a conformação de uma identidade mais ampla que a bi-racial4. Na verdade, o esforço está concentrado em discutir a \"identidade racial\" em um local determinado de estudo, tendo em vista que a raça é um construto social, acionado em momentos diferentes.The purpose of this work is to do a study on the identity construction of patrons of black balls, the Chic of show, which occurs in the lounge and dance club in Cidade of Zimbabwe, held in the lounge area Atual. What we want to verify from these two groups is whether people define themselves only as black or white, as advocated by the Unified Black Movement (MNU), or if there is a conformation of a broader identity that the bi-racial. Indeed, the effort is focused on discussing the \"racial identity\" in a specific place of study, with a view that race is a social construct, activated at different times.
3
Claudio, Fernanda Maria. "Domination, development, and drought : a study of two Chikunda settlements in Dande, Zambesi Valley, Zimbabwe." Thesis, London School of Economics and Political Science (University of London), 2005. http://etheses.lse.ac.uk/2063/.
Full textAbstract:
The principle theme of this study is an examination of the relationship between political and economic domination, and development and drought in the Dande area of the Zambesi Valley, Zimbabwe. To this end, two settlements, a centralised polity and an area of shallow and dispersed lineages, were researched and compared. While the populations of these areas comprised different clans and lineages, particular attention is paid to the Chikunda group whose dominant clan in Dande, the marunga rosario andrade, controlled a longstanding centralised chieftaincy. Political process in Dande was until the 1990s viewed as the performance of two forms of chieftaincy, autochthonous and conquering. Autochthonous chiefs were believed to be supported by the people and to act in benevolent ways, while conquering chiefs were expected to act in the interests of their own clan and lineage. Particular attention is paid to the issue of chieftaincy through an examination of the formation of centralised Chikunda polities which derived from a Portuguese land tenure system. Accounts of marunga conquest of Dande and the Chapoto chieftaincy of the 1990s are examined with regard to domination. In comparison, the importance of land spirits in the discourse of chieftaincy is highlighted in terms of centralised and decentralised polities. While the significance of chieftaincy as a political discourse in Dande was high, during the 1990s the introduction of state policies of structural adjustment and development altered political and economic practices. Serious drought in 1991-92 exacerbated longstanding inter-generational conflict which led to a split of outlook on issues of kinship, political organisation, and livelihood practices. The occurrence of serious drought and associated hunger and illness, coupled with social pressures brought by development, caused local populations to express the belief that the Zimbabwean state, which had been installed through the will of the people, was no longer for the people. The trajectory of the Zimbabwean state from its role as autochthonous ruler to that of conqueror in little over a decade after Independence is examined through discussion of land spirit ceremonies performed during and after drought.
4
Gonye, Jairos. "Representations of dance in Zimbabwean literature, post - 1960." Thesis, 2016. http://hdl.handle.net/11602/350.
Full text
5
Phibion, Otukile Sindiso. "Bakalanga music and dance in Botswana and Zimbabwe." Thesis, 2003. http://hdl.handle.net/2263/26707.
Full textAbstract:
Botswana, formerly known as the Bechuanaland Protectorate, is a country with diverse tribal and religious cultures. Bakalanga are one of the tribes found in Botswana and also in Westrn Zimbabwe. The Western part of the Zimbabwean Bukalanga region was included in the then Bechuanaland Protectorate when its border with Zimbabwe was fixed. To date, Botswana's traditional music has been passed from generation to generation, entirely orally. The main contribution of this study is collecting, documenting and preserving Bakalanga traditional music-making. After abolishing official usage of the Ikalanga language, at independence in 1966, in the early 1990's the Botswana government re-discovered that a nation without culture is a lost nation. Funds were then set aside to be used annually for the development of culture. In using these funds to revive their culture and traditional music, Bakalanga of North Eastern Botswana declared 21 May to be their annual cultural day. Photographs and video footage of these annual cultural festivals were taken by the researcher to help illustrate certain aspects of Ikalanga music and dance in this thesis. Several factors influencing Ikalanga traditional music were taken into consideration: the historical background of Bakalanga, their relationship with other tribes such as the Amandebele, their education, their language in relation to other languages and the missionary influence. Ikalanga traditional music instruments are described. The Mwali religion, which forms the basis of wosana music, linking Bakalanga of Botswana and those of Zimbabwe through the Njelele sacred place joint annual ceremonies, is discussed at length. Different Ikalanga traditional music types are addressed as follows: • Rain Making/Praying music; Wosana and Mayile • Traditional Music for Happy Occasions and Entertainment; Ndazula, Mukomoto, Woso, Iperu, Tshikitsha, Bhoro and Ncuzu./ Maskhukhu • Traditional Music for Healing Purposes; Mazenge (Shumba), Sangoma and Mantshomane. All the above music types are practised within Bukalanga communities publicly, with the exception of mazenge, which is regarded as sacred and private. Bhoro is also extinct in Zimbabwe. The notation of Ikalanga traditional basic musical themes is provided, except for mazenge and ncuzu. which were not found anywhere during this research.Thesis (DMus)--University of Pretoria, 2006.
Music
unrestricted
6
Mutero, Innocent Tinashe. "An ethnography on the uses of chinyambera traditional dance as a coping mechanism by marginalised communities in Gweru Zimbabwe : the case of Tavirima Traditional Dance Group." Thesis, 2013. http://hdl.handle.net/10413/11170.
Full textAbstract:
This dissertation is an ethnographic expository of how Tavirima Traditional Dance Group uses chinyambera traditional dance as a copying mechanism for marginalised communities in Gweru, Zimbabwe. This study contextualises and analyses how Tavirima’s performances of chinyambera reflect the socio-political environment in Zimbabwe and how the music works to bring about social change. It gives further insight into and analysis of how traditional songs metaphorically speak out against the authoritarian government of Zimbabwe led by Robert Gabriel Mugabe, and how dance embodies dissent against the same. The dissertation provides transcriptions and contextual interpretations of chinyambera songs which Tavirima uses as agents for social change focusing on how the songs reflect, contest, resist and mediate in the prevailing socio-political crisis in Zimbabwe. The research also discusses how chinyambera’s roots, expressiveness and energies influence Tavirima to choose the dance over a myriad of other Zimbabwean traditional dances. The theoretical framework for this study is underlined by the African Popular Culture Theory, Alternative Cultural Theory and Positive Deviance Approach creating a vantage point through which the study is framed to analyse the ability of popular arts in bringing about social change and how subalterns take charge of their destiny by defying restrictive and oppressing systems through a metamorphosis of traditional music and dance.
7
Perman, Anthony Wilford. "History, ethics, and emotion in Ndau performance in Zimbabwe : local theoretical knowledge and ethnomusicological perspectives /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337886.
Full textAbstract:
Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008.Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4180. Adviser: Thomas Turino. Includes bibliographical references (leaves 358-373) Available on microfilm from Pro Quest Information and Learning.
8
Taitz, Laurice. "Where once our heroes danced there is nothing but a hideous stain: nationalism and contemporary Zimbabwean literature." Thesis, 1996. https://hdl.handle.net/10539/26755.
Full textAbstract:
A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg,
in fulfilment of the requirements for the degree of Master of Art.This study demonstrates the relationship between nationalism and identity formation by exploring the ways in which Zimbabwean writers have constructed identities within the context of a nationalist struggle for independence. By focusing on the predominant themes of disease, alienation and disintegration, it explores how these identities emphasise difference and heterogeneity in response to the homogenising discourses of colonialism and nationalism. The disparity between the ways in which nationalism articulates itself and is apprehended, and the ways in which nationalism allows for the foregrounding of particular identities is illustrated by reference to the idea of a pact or alliance - an agreement reached on the basis of the necessity of defeating colonialism. WhiIe motivations are often disparate, this common goal allows for a show of unity, often mistaken as homogeneity. The achievement of independence entails a shift in priorities, where those differing identities that previously seemed homogenous, come to the fore precisely to emphasise their difference.
Andrew Chakane 2019
9
Ndlovu, Clayton Mboneli. "A cultural response: the exploration of traditional dance and games as an HIV/AIDS intervention. A Zimbabwean case study." Thesis, 2010. http://hdl.handle.net/10539/8893.
Full textAbstract:
ABSTRACT
This study was a cultural response set to explore the use of indigenous knowledge found within the Zimbabwean traditional dances and games as an HIV/AIDS intervention. The focus of this creative led research was to analyze the process of exploring the use of traditional dances, games and songs as heuristic devices which also served as conceptual tools for framing the process of the study. Khaya African Arts composed of twelve members from Zimbabwe based in Johannesburg, South Africa, was the traditional dance group that participated in the process of the study. Khaya African Arts’ participation was appropriate for the study as the group has deep knowledge and performs traditional dances and games from Zimbabwe.
10
Marango, Timothy. "Potential strategies for harnessing indigenous rainmaking practices to combat the negative effects of climate change in Chimamimani District of Zimbabwe." Thesis, 2017. http://hdl.handle.net/11602/895.
Full textAbstract:
PhDRDVInstitute for Rural Development
Currently, there is limited understanding, appreciation and dissemination of indigenous raining making practices. Yet indigenous rain making is part of the rich African heritage. The current study was premised on the view that indigenous rain making practices can help combat the negative effects of climate change if properly integrated with western science. A mixture of exploratory and survey designs was adopted in this study, which sought to examine the common indigenous rainmaking practices in Chimanimani District of Zimbabwe prior to developing strategies for reducing the negative impacts of climate change on the livelihoods of rural households. Various studies with the following specific objectives were carried out: to analyze the general community perceptions on the potential of indigenous rain making practices in combating the negative effects of climate change; to examine the components of indigenous rainmaking practices; analyse the means of disseminating knowledge on indigenous rainmaking; to identify the negative effects of climate change on the livelihoods of rural households; to assess the effectiveness of existing strategies used by households to cope with the negative effects of climate change; and to propose strategies for utilizing indigenous rainmaking practices to counter the negative effects of climate change on the livelihoods of rural households. Semi-structured interview guides and a questionnaire requiring responses on a Likert-type scale were used to collect data. Key informants and ordinary community members were selected using judgmental, convenient and snowballing sampling techniques. The Thematic Content Analysis technique was used to draw meaning out of the qualitative data. Chi-Square tests for Goodness of Fit were conducted using the Statistical Package for Social Sciences (SPSS) to establish if there were significant relationships among perceptions. It was indicated that the shift in seasons as exemplified by the Nyamavhuvhu wind which now swept Chimanimani in September or October instead of end of July to August was evidence of climate change. Responses with respect to the negative effects of climate change included food insecurity, and drying up of streams and rivers. Availability of water for domestic, agricultural and animal use was becoming increasingly unreliable. The respondents argued that they believed in the effectiveness of indigenous rain making if it is conducted following local customs and traditions. Significant differences in the following perceptions were observed for “Besides makoto and Christian prayers there are other common rainmaking practices practiced in Chimanimani District” (p < 0.05). Similar results were observed with regard to “I believe indigenous and western knowledge of rainmaking can complement each other” (P < 0.001), and “There is increase in pests and plant diseases than before” (P < 0.01). Components of indigenous rain making v identified in the current study included rain making ceremonies (makoto), which entailed use of beer, sacrificial bird (normally a cock) and natural resources conservation such as keeping places for local rain making rituals sacred (zvitenguro), not destroying very big trees for example fig tree (muonde: Ficus capensis), mukute (Syzygium cordatum) and others, and treating forests as sacred. With respect to the negative effects of climate change, a highly significant difference was observed for duration of stay in relation to, “There is now a high risk in planting winter wheat due to changes in climate” (P < 0.01); “Wetlands are disappearing in our area” (P < 0.01); “There is general reduction in yields due to climate change” (P < 0.001) and “We are experiencing scarcity of water for domestic animals and for household use” (P < 0.05). Lastly, highly significant relationships between “Rivers are drying up in our area” and education (P < 0.01) and duration of stay (P < 0.001). Methods used to disseminate indigenous knowledge of rain making were said to be ineffective. Information was being passed on through oral means. It was indicated that better use of modern technology and social media, in particular radio, television, Twitter, WhatsApp and Facebook might enhance people’s knowledge on indigenous rain making. By so doing, the perception that indigenous rain making was merely history and not knowledge that can be used in people’s daily lives would be eliminated. Furthermore, current strategies utilized to combat the negative effects of climate change were reported to be unsustainable. Among these were reliance on harvesting wild fruits for sale and hunting. Human activities such as veld fires, deforestation and over harvesting of wildlife were viewed in negative light with respect to combating negative effects of climate change. It was proposed that communities should revert to respecting traditional beliefs of conserving forests. This said to be key in normalizing climate, attracting back the birds and animals that used to be key in weather forecasting. Replanting and indiscriminate cutting of trees along rivers as effective prevention of stream bank cultivation were proposed. Re-introduction of heavy fines by traditional leadership was suggested as a tried and tested strategy that was no longer being applied when implementing conservation initiatives. The observation made in this study that western science and indigenous rain making practices were similar in many respects, suggested that these were opportunities that could be used to anchor strategies for integrating them. In addition to this, the need for establishing collective deliberation or interface platforms coupled with continuous communication and careful management of intellectual property was obvious.
Books on the topic "Dance zimbabwe"
1
Welsh-Asante, Kariamu. Zimbabwe dance: Rhythmic forces, ancestral voices : an aesthetic analysis. Trenton, NJ: Africa World Press, 2000.
Find full text
2
Reynolds, Pamela. Dance, civet cat: Child labour in the Zambezi Valley. Harare, Zimbabwe: Baobab Books, 1991.
Find full text
3
Dare, Valerie. Music of Zimbabwe: The spirit of the people. Vancouver, BC: Britannia World Music Program, 1996.
Find full text
4
Malale, Lukanda lwa. SADC dance festival: Symposium, "Building SADC through dance", Harare/Zimbabwe, du 13 au 23 septembre 2001 : communication, la danse des Bambudye, facteur de paix et de cohésion sociale chez les Baluba. Commune Lubumbashi, R.D.C./Katanga: L. lwa Malale, 2001.
Find full text
5
Kudzai, Chikomo, ed. Zimbabwe's traditional dances. [Bulawayo, Zimbabwe]: Amagugu Publishers, 2012.
Find full text
6
Spierenburg, Marja. The role of the Mhondoro Cult in the struggle for control over land in Dande (northern Zimbabwe): Social commentaries and the influence of adherents. Mount Pleasant, Harare, Zimbabwe: Centre for Applied Social Sciences, University of Zimbabwe, 1995.
Find full text
7
Spierenburg, Marja J. Strangers, Spirits, And Land Reforms: Conflicts About Land In Dande, Northern Zimbabwe (Afrika-Studiecentrum Series, V. 3). Brill Academic Publishers, 2004.
Find full textBook chapters on the topic "Dance zimbabwe"
1
Mamimine, Patrick Walter, and Enes Madzikatire. "9. Tourism and the Social Construction of Otherness through Traditional Music and Dance in Zimbabwe." In Cultural Tourism in Southern Africa, edited by Haretsebe Manwa, Naomi Moswete, and Jarkko Saarinen, 121–31. Bristol, Blue Ridge Summit: Multilingual Matters, 2016. http://dx.doi.org/10.21832/9781845415532-014.
Full text
2
Gonye, Jairos, and Nathan Moyo. "African Dance as an Epistemic Insurrection in Postcolonial Zimbabwean Arts Education Curriculum." In The Palgrave Handbook of Race and the Arts in Education, 157–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-65256-6_9.
Full text
3
Moyo, Nathan, and Jairos Gonye. "Theorising the Politics of Knowledge Production in Curriculum in Zimbabwe." In Ethical Research Approaches to Indigenous Knowledge Education, 178–205. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-1249-4.ch008.
Full textAbstract:
This chapter theorises the politics of knowledge production in order to understand the ways in which Indigenous Knowledge Systems (IKS) could be framed as bases for promoting transformative classroom practices in Zimbabwe. Doing so is necessary as the school curricula of many education systems in postcolonial Africa remain subservient to the Western European epistemology. The trope, transformative uncolonial learning, is employed in order to re-imagine an ethical pedagogy that could result in transformative classroom practices. The argument developed is that history and dance, as implicated in the politics of the black body, could be re-framed as the basis of ethical classroom practices. To achieve this, teachers need to embrace productive pedagogies that promote pluriversality of knowledges as valid and legitimate school knowledge.