Abstract
In this introductory chapter, we attempt to situate the Zimdancehall genre within the trajectory of music in Zimbabwe. We argue that Zimbabwean music has generally been about the hopes and aspirations of its people. Thus, Zimdancehall is part of a rich tradition of musical philosophies that are concerned with the well-being of the people. However, Zimdancehall’s disruptive messaging and strident sound mean that its approach to protest is meant to disturb the peace. This is where one locates the revolutionary nature of the genre. We argue that the genesis of Zimdancehall can be traced back to protest when Bob Marley’s 1978 song, ‘Zimbabwe’, globalised the landlocked colony’s struggle for independence, culminating in Marley headlining the Independence Day celebrations on 18 April 1980. Thereafter, the reggae sound became an indelible aspect of Zimbabwe’s musical landscape, making it impudent to conclude that Zimdancehall started in 2013. We attempt an exploration of Zimdancehall that takes into consideration the fact that the genre is a culmination of efforts by music pioneers who started as far back as 1980 to promote and create a reggae and dancehall culture in Zimbabwe. This chapter therefore looks at the foundational work which culminated in dancehall becoming a dominant urban culture, from the 1980s right up to the 2000s. The 2000s are particularly important because of the music policy and political developments that led to the genesis of the Urban Grooves, a musical movement that would prove vital to the process of Zimdancehall taking a distinct character. We conclude the chapter by offering brief descriptions of the themes of the chapters which constitute this project.
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Notes
- 1.
There is no claim to exhaustiveness in this listing. The bias has been towards full-length monographs, with a few articles. A longer study is required to review scholarship on Zimbabwean music, as well as trends in the music of Zimbabwe. It would cover the work of ethnomusicologists, historians, scholars of languages and literature, political science, religion and others. Themes would include the history of music performance in Zimbabwe, the diverse genres, output from different cities and outlying areas, the careers of specific musicians (and they are so many!), gender, politics, economics, ecology, external influences and consumption/reception beyond Zimbabwe, disability, language, censorship, violence, sex and sexuality, etc. Clearly, having one comprehensive study on “Music in Zimbabwe” is an exercise in futility, as the subject matter is permanently evolving.
- 2.
The Willogate Scandal (1988–99) is easily the first most publicised major corruption scandal of the first decade of Zimbabwe’s independence. It involved government officials reselling government-subsidised cars at a 200% profit.
- 3.
Slaggy Yut gave this account during an interview with Plot Mhako of earGround. The interview is available here: https://youtu.be/36RJ1mfAcqA, accessed 10 May 2023.
- 4.
Prior to Vanhu Vakuru, Winky D released The Devotee (2004) in which he presented himself as the poor people’s devotee. Although the dancehall album has conscious themes, it did not achieve success. Thus, Winky D’s breakthrough came with Vanhu Vakuru.
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Chidora, T., Rumbidzai Tivenga, D., Chitando, E. (2024). Introduction: Locating Zimdancehall in the Trajectory of Music in Zimbabwe. In: Chidora, T., Rumbidzai Tivenga, D., Chitando, E. (eds) The Zimdancehall Revolution. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-41854-9_1
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