Relevant bibliographies by topics / Zimbabwem Arts

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Zimbabwem Arts'

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

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Journal articles on the topic "Zimbabwem Arts"

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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 (2020): 26–40. http://dx.doi.org/10.1017/s0149767720000157.

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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.
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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 years studying Zimbabwean theatre when a research assistant at the University of Bayreuth, and completed his doctorate on Theatre and Performance in Zimbabwe at the Humboldt University, Berlin, in 1997. Since then he has been working in the field of cultural management for the Young Artists' Festival in Bayreuth. The present paper was first presented at the Annual Meeting of the African Studies Association in San Francisco in November 1996.
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Seda, Owen, and Nehemiah Chivandikwa. "CIVIL SOCIETY, RELIGION AND APPLIED THEATRE IN A KAIROTIC MOMENT - PRELIMINARY REFLECTIONS ON A PROJECT ON POLITICAL VIOLENCE & TORTURE IN ZIMBABWE: 2001 – 2002." Commonwealth Youth and Development 14, no. 2 (2017): 81–91. http://dx.doi.org/10.25159/1727-7140/1806.

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This article is a critical reflection on possibilities for social transformation and democratisation that can be possibly realised through collaborations between young people in civil society, African traditional religion and the Christian movement in contemporary contexts. In this context the focus on young people as key agents of change is informed by the frequent observation that young people are often the major perpetrators (and victims) of political violence and yet the least beneficiaries from the political spoils. The article analyses a project in the use of applied theatre to address political violence and torture that was conducted by the University of Zimbabwe's Department of Theatre Arts and Amani Trust some time between October 2001 and March 2002. The article uses that project to investigate and to illustrate some of the opportunities that can be harnessed by religious arms of civil society to strengthen peace in disadvantaged rural communities, such as we find in contemporary Zimbabwe, and which often bear the brunt of social unrest in times of political uncertainty. The study approaches time as a social construct that determines human agency and decision-making in order to adopt the biblical concept of ‘kairos’ or the ‘kairotic’ moment. The ‘kairotic’ moment referred to in this paper is the period between 1999 and 2008 when the Zimbabwean polity faced one of its severest national crises following protracted political contestation. This resulted in unprecedented levels of political intolerance, and state-sanctioned violence and torture in the country’s post-independence history. This level of political violence was perhaps second only to the infamous Gukurahundi massacres, which took place in the Midlands and Matebeleland provinces during the mid-1980s. We also view the kairotic moment as a critical moment for making a fundamental decision. It is full of both promise and danger, so much so that whether the moment ‘reaps’ hope or danger depends on how the moment is seized. We ask: Did civil society seize the moment to reap hope? In other words, we analyse whether various arms of Zimbabwean civil society took advantage of the ‘pregnant’ or kairotic moment to liberate itself. The authors adopt existing discourses on civil society and liberation theology to argue that whenever the time is ripe for meaningful intervention, there in fact exist immense opportunities for different branches of civil society domiciled in both traditional African and modern Christian religions to harness applied theatre in the service of peace and democratisation in the face of political adversity and uncertainty.
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Piotrowska, Agnieszka. "Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise?" Journal of Screenwriting 11, no. 3 (2020): 287–302. http://dx.doi.org/10.1386/josc_00034_1.

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This article focuses on the Zimbabwean film Neria (1992), arguably one of the most important films in the history of sub-Saharan Africa. Directed by the Black Zimbabwean Godwin Mawuru, it was the first feminist film in Zimbabwe and in the region, highlighting the plight of women who become the property of their brothers-in-law after their husbands die. The article addresses the issues of the origins of the story and the authorship of the screenplay. On the final reel of the film, the story credit names the accomplished Zimbabwean female novelist, Tsitsi Dangarembga; while the screenplay credit names Louise Riber. Riber served as the film’s White American editor and co-producer who, with her husband John Riber, managed the Media for Development Fund in Zimbabwe. The key question of this article is simple: who wrote the screenplay for Neria? Through the physical and metaphorical journey of this research, we discover that the story is based on the personal experiences of Anna Mawuru, the director’s mother. This is the first time that this fact has surfaced. As such, this article also offers some reflections on issues of adaption/translation, particularly in the context of postcolonial collaborations.
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Munochiveyi, Munyaradzi B. "Becoming Zimbabwe From Below: Multiple Narratives of Zimbabwean Nationalism." Critical African Studies 4, no. 6 (2011): 84–108. http://dx.doi.org/10.1080/20407211.2011.10530767.

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KELETA-MAE, NAILA. "Workshop Negative: Political Theatre in Zimbabwe in the 1980s." Theatre Research International 44, no. 3 (2019): 262–72. http://dx.doi.org/10.1017/s0307883319000300.

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In 1980 the Republic of Zimbabwe became recognized internationally as an independent state. This independence marked a shift from white minority rule to black majority rule in the form of ZANU–PF in a transition in government that was fraught with brutal violence, tense negotiations and tremendous hope for the democratic state that would emerge. This article begins with a brief overview of key political-theatre and public-arts funding practices that emerged in the newly independent Zimbabwe in the 1980s and continues with an examination of an influential political play from the era by Cont Mhlange entitled Workshop Negative (1986). This article's analysis of Workshop Negative considers how the economic pressures explored in the play mirror the precarious working conditions that arts-funding models placed on political-theatre practitioners in Zimbabwe at the time.
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Chimhowu, Admos, and Philip Woodhouse. "Forbidden But Not Suppressed: a ‘Vernacular’ Land Market in Svosve Communal Lands, Zimbabwe." Africa 80, no. 1 (2010): 14–35. http://dx.doi.org/10.3366/e0001972009001247.

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This article examines the status of land tenure in Zimbabwe following the ‘Fast Track’ land reforms of 2000–3. It finds that post-reform land tenure remains strongly dualist, with land sales and rental prohibited on the land (about two thirds of the total) classified as ‘A1’ resettlement or ‘communal areas’, while tradeable leases apply to much of the remainder, classified as ‘commercial land’. The article draws on fieldwork in Svosve Communal Area and on previous studies on land transactions in Zimbabwe to argue that land sales and rental transactions are an enduring feature of land use in Zimbabwe's ‘communal areas’. Moreover, the article argues that, despite government prohibition, there is evidence that such transactions are being fuelled by increasing demand for land arising from the collapse in the non-farm economy in Zimbabwe. The article argues that while the logic of informal (or ‘vernacular’) land sales and rental is widely recognized by land users in communal and resettlement areas, government prohibition, in favour of asserting land allocation rights of customary authorities, is driven by considerations of political control of the rural vote.
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Stanczuk, G. A., E. N. Sibanda, S. A. Tswana та S. Bergstrom. "Polymorphism at the –308-promoter position of the tumor necrosis factor-alpha (TNF-α) gene and cervical cancer". International Journal of Gynecologic Cancer 13, № 2 (2003): 148–53. http://dx.doi.org/10.1136/ijgc-00009577-200303000-00008.

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The purpose of the study was to investigate the hypothesis that the genetically programmed ability to produce low, medium, or high levels of tumor necrosis factor-alpha (TNF-α), as determined by TNF-α promoter polymorphism at position 308, influenced the development of cancer of the uterine cervix. The population was recruited from patients attending gynecological clinics at two teaching hospitals in Harare, Zimbabwe. Laboratory tests were performed in the Departments of Immunology and Medical Microbiology, Medical School, University of Zimbabwe. One hundred and three patients with invasive cancer of the uterine cervix and 101 healthy women were included in the study. All patients and healthy controls were from the Shona ethnic groups that inhabit northern Zimbabwe. DNA was purified from cervical cytobrush samples obtained from women with cervical cancer. In random cases a second DNA sample was extracted from patient blood. Control DNA was extracted from urine or peripheral blood samples from the healthy women. Detection of allele A and /or G at the 308 position in the promoter region of the TNF-α gene was carried out using the amplification refractory mutation system-polymerase chain reaction (ARMS-PCR) technique. Polymorphism in the amplified products was detected by gel electrophoresis. There was no statistically significant difference in the distribution of the low (G) or high (A) producer alleles at position 308 of the TNF-α gene between patients with cervical cancer and healthy women. The high producer haplotype AA was identified in only one patient with cervical cancer and two healthy women. These data suggest that the genetically acquired ability to produce higher levels of TNF-α is present in a minority of women with or without cervical cancer in the Zimbabwean population. Homozygosity for allele 308A is very rare. High-producer allele 308A as well as high-producer haplotypes AA is significantly less common in a Zimbabwean population than in a European population.
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Maxwell, David. "‘Catch the Cockerel Before Dawn’: Pentecostalism and Politics in Post-Colonial Zimbabwe." Africa 70, no. 2 (2000): 249–77. http://dx.doi.org/10.3366/afr.2000.70.2.249.

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AbstractThe article examines relations between pentecostalism and politics in post-colonial Zimbabwe through a case study of one of Africa’s largest pentecostal movements, Zimbabwe Assemblies of God, Africa (ZAOGA). The Church’s relations with the state change considerably from the colonial to the post-colonial era. The movement began as a sectarian township-based organisation which eschewed politics but used white Rhodesian and American contacts to gain resources and modernise. In the first decade of independence the leadership embraced the dominant discourses of cultural nationalism and development but fell foul of the ruling party, ZANU/PF, because of its ‘seeming’ connections with the rebel politician Ndabiningi Sithole and the American religious right. By the 1990s ZAOGA and ZANU/PF had embraced, each drawing legitimacy from the other. However, this reciprocal assimilation of elites and the authoritarianism of ZAOGA’s leadership are in tension with the democratic egalitarian culture found in local assemblies, where the excesses of leaders are challenged. These alternative pentecostal practices are in symbiosis with radical township politics and progressive sources in civil society. Thus, while pentecostalism may renew the process of politics in Zimbabwe, it may itself be renewed by the outside forces of wider Zimbabwean society.
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Larmer, Miles. "The Zimbabwe Arms Shipment Campaign." Review of African Political Economy 35, no. 117 (2008): 486–93. http://dx.doi.org/10.1080/03056240802411198.

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Dissertations / Theses on the topic "Zimbabwem Arts"

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Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.

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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.
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Kabwato, Chris. "The emergence of youth protest music and arts as alternative media in Zimbabwe: a Gramscian analysis." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/51228.

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The primary goal of the research is to examine the reasons for the emergence of - hip-hop-based youth protest music and satirical video comedy in Zimbabwe in a context where democratic and media practice has been restricted. The study examines the strategies and platforms that the young urban-based, musicians and cultural activists employ as they contest the meta-narrative of political nationalists who control the public mass media. The study recognises culture as a site of struggle and seeks to tease out the meaning of specific art forms (‘conscious’ hip-hop music and faux-news satire) in this very specific period of Zimbabwe’s history. The study proposes that the rise of these new forms of hip-hop based protest music, poetry and satirical comedy indicate how through the production and circulation of popular culture, ordinary Africans are able to debate pertinent issues that are marginalised by the official media channels. The study thus sees these artists as organic intellectuals who use alternative media to engage with different publics as they seek to counter hegemonic discourses.
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Schoppert, Stephanie Emma. "Neopatrimonialism and foreign aid in Africa : the cases of Kenya and Zimbabwe." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1325.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Sciences
Political Science
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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /." Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.

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Kwanisai, Felistus. "Antiretroviral treatment : challenges experienced by HIV positive women in Zimbabwe." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/43137.

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HIV and AIDS which was discovered in the 1980s is causing havoc in many developing countries and Sub-Saharan continent is the hardest hit. Pratt (2008:8) highlights that “the number of people living with the disease is concentrated in the industrially developing world, mostly in those resource deprived countries least able to afford the care of HIV-infected people”. Zimbabwe is one of the SADC countries with the highest statistics of HIV and AIDS. Women account for the largest number of people infected by the pandemic and this could be as a result of the social and cultural norms which oppress women and their position in society. Antiretrovirals (ARV’s) are the life-long drugs given to HIV-infected people to slow the progression of the disease. There are different types of ARV regimens. Zimbabwe introduced the ART roll-out in 2004, however the ART users face multiple obstacles in accessing ARVs. The study targets women because they are a vulnerable group in society, specifically in Zimbabwe. Women have been subjected to stigma, discrimination, violence, humiliation, degradation and psychological torture when they are identified as being HIV positive. Some are neglected and deserted by their partners and families after disclosure, as a result many are too scared to disclose their status to families. The country’s political and economic situation has a major impact on the HIV positive women’s access to ARV treatment. This is compounded with the social and cultural norms and values of the people. The focus of this study is on the challenges experienced by HIV positive women with regard to accessing ARV treatment in Zimbabwe. This study strived to understand the challenges HIV positive women encounter in adhering and accessing to ARV treatment. The goal was to explore the challenges experienced by HIV positive women with regard to accessing ARV treatment in Zimbabwe. The research question of the study was: What are the challenges experienced by HIV positive women with regard to accessing ARV treatment in Zimbabwe? This study used a qualitative approach with a collective case study research design. The population for this study was the African women from Zimbabwe who were infected with HIV and AIDS. Non-probability purposive sampling was utilised in this study to select the sample of 10 women who were living with HIV and AIDS in Masvingo District, Zimbabwe and who were accessing ART. Specific criteria for sampling was used to select clients of two NGO’s in Masvingo district of Zimbabwe: Batanai HIV and AIDS Service Organisation and the Reformed Church in Zimbabwe Community Based AIDS Program. Semi-structured one-to-one interviews were used to collect data. The researcher sought permission of the participants to voice record their interviews and the researcher transcribed them personally. The data gathered was analysed and theme and sub-themes were generated from the data. The research findings were presented thereafter by providing a profile of research participants followed by thematic analysis of the themes and sub-themes from the transcriptions. Literature control and verbatim quotes were used to support these themes and sub-themes. The following are the themes from this study: Theme One- Information regarding HIV and AIDS, Theme Two- Information on ARV treatment, Theme Three- Societal and HIV positive women’s views on HIV and AIDS, Theme Four- Experiences of being an HIV positive woman and Theme Five- Needs identified by HIV positive women. The conclusions of this study reflect that HIV positive women experience some challenges in adhering and accessing ARV treatment. Disclosure, stigma and discrimination, traditional and faith healer’s diagnosis of HIV and AIDS, access to medication for Opportunistic Infections, food shortage, distance to ARV sites, the availability and change of ARV regimens were amongst some of the factors which made access to ARV treatment a challenge. Recommendations from this study can be used by HIV and AIDS stakeholders to understand the challenges and experiences by HIV positive women better. The social workers can also use the recommendations to find ways to make their services known to the communities and also improve their intervention and support to these women.
Dissertation (MSW (Health Care))--University of Pretoria, 2014.
lk2014
Social Work and Criminology
MSW (Health Care)
Unrestricted
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Shragg, Lior D. "Belonging: The Music and Lives of Black Zimbabwean Jews." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1585649059631573.

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Pattison, David. "From Rhodesia to Zimbabwe via Oxford and London : a study of the career of Dambudzo Marechera." Thesis, University of Hull, 1998. http://hydra.hull.ac.uk/resources/hull:3859.

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[From the introduction] : In my first chapter I will offer a review of Marechera's reputation and the critical reception given to his work, both during his life and since his death. In Chapter Two I Will outline the major theoretical issues raised by Marechera's work: Art versus psychological catharsis; the artist-as-communal-spokesman versus the artist-as-Romantic-individualist; nationalism versus literary universalism. Chapters Three, Four, Five and Six will then consider in sequence, the work produced in Oxford, in London and in Harare, tracing the writer's physical and psychological deterioration through his evolving prose style. Each of these chapters will also focus on a major relevant critical issue. Thus Chapter Three will examine The House of Hunger, written following Marechera's arrival in Oxford, in the context of 'culture clash', 'the African heritage' and Postcolonialism which so preoccupied its original reviewers. Chapter Four will examine Black Sunlight and The Black Insider, written while the author was destitute in London, in terms of Jung's 'neurosis or art' debate. Chapter Five will examine Mindblast and Chapter Six will examine Scrapiron Blues, both containing material written after Marecheras' return to Harare, making reference to the historical and socio-political context of post-colonial Zimbabwe and to the writer's unsuccessful attempts to establish a role with the nation builders. I will conclude in Chapter Seven by discussing Marechera's place within the Zimbabwean literary canon, the current relevance and influence of his work and the implications this holds for the future of Zimbabwean writing.
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Maputseni, Clever. "Using Radio for Advocacy and Communication of Issues Affecting Farm Communities in Zimbabwe." Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22176.

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The field of communication for development has been marked by shifts in paradigms from the top-down/mechanistic approaches that emerged in the 1950s to the participatory/bottom-up approaches of the later periods. Despite the paradigm shifts, the faith in the power of the media to influence development has not died down. The research Using Radio for Advocacy and Communication of Issues Affecting Farm Communities in Zimbabwe adds to the body of literature on alternate episodes of faith and doubt in the power of the media in development that characterize intellectual discourse on communication for development. Through a triangulation of both qualitative and quantitative research methods, this study looks at the extent to which radio remains useful in communication and advocacy for the development of marginalized communities, the farm communities in Zimbabwe. The research is based on a case study of the radio programme sponsored by an NGO, which is broadcast on national radio.The research findings indicate that radio remains a popular medium with communities and development actors that still see it to be useful in dissemination of development messages. The challenge that lies ahead of using radio for development in the era of democracy is how to integrate and adapt it to participatory and empowerment models of communication, which build the capacities of the marginalized people. The radio programme studied in this research has been found to be relying more on top-down approaches than participatory methods.Overall, there remains the need to make radio more interactive for it to fit into the participatory methods, which are the more appropriate route to take in the present era.
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Mabhunu, Loveness. "Knowledge of HIV transmission and sexual behavior among Zimbabwean adolescent females in Atlanta, Georgia: the role of culture and dual socialization." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2012. http://digitalcommons.auctr.edu/dissertations/418.

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This study conducted in Atlanta, Georgia examines the knowledge of HIV transmission and sexual behavior among Zimbabwean adolescent females. A total of 30 adolescents were interviewed using qualitative techniques. This study utilized the Social Cognitive Theory as the theoretical framework in that it maintains that behavior is largely regulated antecedently through cognitive processes. This study also employed Self-efficacy Theory, which is concerned with people’s beliefs in their capabilities to perform courses of action to attain a desired outcome. Awareness of risk perceptions helps young people to learn to see actions as causes of events and believe in the changeability of heath risks and risky habits. The researcher found that a majority of the adolescents had a high level of knowledge of HIV transmission. Although adolescents’ knowledge of condom use is relatively high, their usage lags far behind. The conclusions drawn from the findings suggest that adolescents are aware of HIV transmission, but are not applying their knowledge in practice. There is a gap between knowledge and action. Therefore, there is need to promote healthy sexual behavior. Effective educational programs that promote critical thinking, decision-making and skills that support the adoption of healthy behavio rs and the reduction of high-risk behaviors are necessary.
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Maviga, Tawanda. "Transnational Activities of the Zimbabwean diaspora in London, United Kingdom: Evidence from a Survey." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23404.

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The key question that this paper seeks to answer is (1) To what extent are Zimbabweans living in London, in the United Kingdom involved in transnational activities to their country of origin? To try to answer this question I have carried out quantitative analysis of primary data gathered in London and the results show that the Zimbabwean migrants are actively involved in transnational activities to their country of origin. Contact with family and sending money home seem to be the most carried out transnational activities than others. In the context of this research project, transnational activities will encompass those falling under the socio-cultural domain such as maintaining family ties with relatives in origin country, the economic domain such as sending money to family in origin country and the political domain such as voting back in origin country.
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Books on the topic "Zimbabwem Arts"

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Doling, Tim. Zimbabwe arts directory. Visiting Arts, 1999.

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Zimbabwe's cinematic arts: Language, power, identity. Indiana University Press, 2013.

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Women as artists in contemporary Zimbabwe. Pia Thielmann & Eckhard Breitinger, 2007.

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(Project), Imago Mundi, ed. Zimbabwe--occupation, artist: Contemporary artists from Zimbabwe. Fabrica, 2014.

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Ginifer, Jeremy. Managing arms in peace processes: Rhodesia-Zimbabwe. United Nations, 1995.

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Olša, Jaroslav. Modern art of Zimbabwe. [National Gallery of Zimbabwe], 2010.

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Nkomo, Zephaniah. The decision to take up arms: ZPRA's untold story. Mafela Trust, 2010.

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Garlake, Peter S. The Hunter's vision: The prehistoric art of Zimbabwe. British Museum Press, 1995.

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Garlake, Peter S. The Hunter's vision: The prehistoric art of Zimbabwe. University of Washington Press, 1995.

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Noy, Ilse. The art of the Weya women. Baobab Books, 1992.

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Book chapters on the topic "Zimbabwem Arts"

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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. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-65256-6_9.

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Morton, Elizabeth. "Patron and Artist in the Shaping of Zimbabwean Art." In A Companion to Modern African Art. John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch12.

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"Zambia – Zimbabwe." In International Directory of Arts 2016. De Gruyter Saur, 2015. http://dx.doi.org/10.1515/9783110404524-030.

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"Zambia – Zimbabwe." In International Directory of Arts 2016. De Gruyter Saur, 2015. http://dx.doi.org/10.1515/9783110404524-052.

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Nyambuya, M. R. "Zimbabwe’s Experience with Small Arms." In Small Arms Control. Routledge, 2019. http://dx.doi.org/10.4324/9780429438219-11.

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Sabao, Collen, and Vimbai Rejoice Chingwaramusee. "Citizen Journalism on Facebook and the Challenges of Media Regulation in Zimbabwe." In Advances in Media, Entertainment, and the Arts. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-2095-5.ch011.

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The chapter discusses the rise of citizen journalism, examining the manners in which such form of journalistic practice impacts media regulatory frameworks and journalistic ethics in Zimbabwe, specifically looking at the Baba Jukwa Facebook wall. It discusses the nature of reporting in citizen journalism and the challenges these pose on media regulating laws and journalistic ethics. Over the last decade, social networking websites and other social forums have exploded in popularity in the whole world, Zimbabwe included. These social networking sites have become quite central as alternative news media, breaking stories before the mainstream official media does. The impact that such social networks have on contemporary society as public spheres - platforms for group social interactions and news outlets should not be undermined because of how they allow people to interact freely and to (re)construct their desired realities in the face of the gag of stringent media laws.
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Dube, Nqobizitha. "Climate Change Risks in Horticultural Value Chains: A Case Study from Zimbabwe." In Climate Issues in Asia and Africa - Examining Climate, Its Flux, the Consequences, and Society's Responses [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.97211.

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Increasing frequency and severity of droughts and floods, shift in onset and cessation of the rainfall and increasing intensity of mid-season dry spells in the last 50 years have been identified in Zimbabwe. This paper presents an assessment of risks from climate change to the horticulture sector of Zimbabwe with the aim to provide mitigatory actions that could alleviate climate change risks in the horticultural sector of Zimbabwe. Specifically the chapter seeks to outline the climate change risks facing the horticulture sector in Zimbabwe, propose actions to reduce risks and assess financing and policy options for climate change adaptation in Zimbabwe. The study followed the approach taken by the International Fund for Agricultural Development (IFAD) which analyses climate risks at each stage of the horticulture value chain. The stages used by Vermeulen are input supplies (seeds, fertilisers, pest management, etc.,); agricultural production (water use, soil management, skill base, etc.,) and postproduction processes (storage, processing, transport, retail, etc.,). Data was collected from multiple stakeholders in areas with notable horticultural production across Zimbabwe using semi-structured interview guides. The study population composed of horticulture farmers, produce processing firms, value chain support organisations and government arms related to horticulture.
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Makwambeni, Blessing. "Zimbabwe Dancehall Music as a Site of Resistance." In Advances in Media, Entertainment, and the Arts. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1986-7.ch013.

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The popularity and consumption of dancehall music in Zimbabwe has grown exponentially over the past few years. However, despite its popularity, Zimdancehall has attracted controversy for promoting violence and vulgar behavior among other ills. This chapter casts aside society's moral judgements in order to investigate Zimdancehall music's role as an alternative public sphere. Using Fraser's alternative public sphere and Bakhtin's carnivalesque as its conceptual framework, and Norman Fairclough's approach to Critical Discourse Analysis as its methodology, the study analysed the discourses that underpin Zimdancehall music. The chapter argues that Zimdancehall music has become a counter public that provides marginalised youths with a platform to resist the dominant state-sponsored patriotic discourse. The music genre has opened a liberating alternative communicative space, outside of state control and ZANU-PF's patriotic discourse, where marginalised youths can symbolically invert their reality, protest as well as articulate their needs and aspirations freely.
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Santos, Phillip, and Mthokozisi P. Ndhlovu. "Media as Political Actors in Times of Political Crisis." In Advances in Media, Entertainment, and the Arts. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9613-6.ch003.

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Political crises can (re)configure relations between the media, political institutions, actors, and processes, sometimes in unpredictable ways. By focusing on how two leading Zimbabwean daily newspapers, The Herald and NewsDay framed the controversial entrance of President Robert Mugabe's wife Grace Mugabe into active politics, the chapter assesses media - politics relations during a political crisis. The chapter uses argumentation and rhetoric analysis to analyse the stories published by the two publications in October 2014, as this was Grace Mugabe's most politically active period. It argues that during a political crisis, the media become political players that wittingly/unwittingly persuade citizens using argumentation and rhetoric to support certain political positions with real consequences in the political sphere.
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Chari, Tendai. "Ethical Pitfalls in the Digital Age." In Advances in Media, Entertainment, and the Arts. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-2095-5.ch002.

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Using the case study approach, this chapter examines ethical shortfalls confronting the media in the Internet era. The one case is drawn from a story published in The New York Times in 2015, while the other is a story published in a Zimbabwean newspaper, the Daily News. The objective was to broaden knowledge on how the Internet is impacting ethical practices in local and global political environments. The chapter argues that the Internet's architecture predisposes journalists to a host of unethical practices that were uncommon to the legacy media environment. Its immediacy exerts pressure on journalists to publish stories without adequate verification out of the fear of being “scooped” by competitors and citizen journalists who are less constrained to adhere to old-age journalistic ethics such as factual reporting and verification.
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Conference papers on the topic "Zimbabwem Arts"

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Chari, Tendai Joseph. "GAME CHANGERS IN ASYMMETRICAL CONFLICTS: ZIMBABWEAN DIASPORA MEDIA REPORTING OF HOMELAND CONFLICT." In 5th Arts & Humanities Conference, Copenhagen. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/ahc.2019.005.005.

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Reports on the topic "Zimbabwem Arts"

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Prescott, Marta, Caroline Boeke, Tendai Gotora, et al. Integration of EPI and paediatric HIV services for improved ART initiation in Zimbabwe. International Initiative for Impact Evaluation, 2017. http://dx.doi.org/10.23846/tw708.

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