This book delves into a critical and comprehensive analysis of Mtukudzi’s legacy, as an outstanding musician who anchored his music on cultural identity specifically through the artistic manipulation of language. As a cultural worker, his remit extended beyond performance. This raised his stature to the levels of such African music icons as Fela Kuti of Nigeria, Salif Keita of Mali and Miriam Makeba/Hugh Masekela of South Africa, all towering giants in African musical performance. This volume examines how Mtukudzi artistically manipulated language to convey a timeless message of cultural identity, fighting for the respect of rights for women, children and all. It unpacks how Mtukudzi subtly uses language to put across political views that speak truth to power, harnessing Zimbabwean language to articulate and promote the nation’s cultural heritage and to advocate for societal development and the promotion of rights of vulnerable groups. The chapters in this volume are a mix of interdisciplinary Zimbabwean scholars of linguistics, performance studies, religion, history, communication and media studies, unravelling Mtukudzi as a fighter for human rights and justice who subtly critiqued political systems and practices. It concludes that Mtukudzi strove to be a cultural worker who used the power of language through music to contribute towards the rehabilitation of a battered African identity. ​

This book shifts the focus of peacebuilding away from nation-states and international organisations to make a powerful argument that sustainable peacebuilding is the work of ordinary people. It brings together work done in Gaza, Ghana, Mexico, Morocco and Zimbabwe, alongside work with refugees in Scotland, to argue for a place for successful intercultural relations as a central aim of peacebuilding, moving beyond the more usual focus on economic development. With a particular emphasis on addressing gender-based violence and the role of women in peacebuilding, together with a central role for arts and culture as a means of resistance and social change, the chapters represent the fruit of collaborative work across geographical and cultural borders, between artists, activists and academics, bringing a wide range of disciplinary perspectives to bear on situations of violence and precarity. In a world where peace work can feel increasingly futile, this book makes a powerful case for the crucial role of local action and cultural work and play in the creation of a better future. The book will be open access under a CC BY ND licence.

Zimdancehall is a musical movement in Zimbabwe that has grown significantly since 2010. The Zimdancehall Revolution brings together critical essays on various aspects of Zimdancehall culture by scholars from diverse disciplines. Traditionally, music critics and senior academics have not taken Zimdancehall seriously, regarding it as vulgar, transient, bubble gum, lacking depth, and in short, a fad. There were also allegations that the lyrics influenced factionalism, incited violence and glorified drug use and unbridled promiscuity among the youth. This book affords this movement the protracted intellectual engagement that it deserves and argues that Zimdancehall is more than just a musical genre but an everyday culture, a way of life. The genre’s close association with the ghetto is telling and enables critics to look at it as a social movement, a revolution, or a raw, petulant and raging disturbance of peace by those who live their lives on the margins. It is, thus, a violent irruption onto the public space by marginalised young people whose presence as artistes creating art from the margins, simultaneously as victims and agents, circulating in a geography that escapes the limits of nationalist ideological and physical territory, in a way subverts communitarian prescriptions and allows young people entry into the world, albeit in a painful, tumultuous and violent way. The essays range from the mapping of the genre’s historical development to theoretical interventions in understanding the genre and its relationship with various aspects of the Zimbabwean society like politics, gender, religion, language, dance, cultural values and other genres.

Speaking to a broader global preoccupation with the state of languages and language development, this book considers issues surrounding the diverse languages, linguistic communities, and cultures of Zimbabwe. Reflecting on Shona, Xitsonga, Sotho, Xhosa, Tjwao, Nambya, IsiNdebele, Nyanja, Tshivenda, English and Braille, the book uncovers both the internal and external factors that impact language structures, language use and language ideologies across the country. The book considers how colonial legacies and contemporary language domination and minoritisation have led to language endangerment. It considers the fate of communities whose languages are marginalised and, in the process, poses questions on what can and should be done to preserve Zimbabwean languages. The authors' offerings range across subjects as diverse as music, linguistic innovation, education, human rights, literature, language politics and language policy, in order to build a rich and nuanced picture of language matters in the country. Coming at a critical moment of increasing mobility, migration, cultural plurality and globalisation, this book will be an important resource for researchers across African literature, linguistics, communication, policy and politics.

This book is a critical reflection on the life and career of the late legendary Zimbabwean music icon, Oliver “Tuku” Mtukudzi, and his contribution towards the reconstruction of Zimbabwe, Africa and the globe at large. Mtukudzi was a musician, philosopher, and human rights activist who espoused the agenda of reconstruction in order to bring about a better world, proposing personal, cultural, political, religious and global reconstruction. With twenty original chapters, this vibrant volume examines various themes and dimensions of Mtukudzi’s distinguished life and career, notably, how his music has been a powerful vehicle for societal reconstruction and cultural rejuvenation, specifically speaking to issues of culture, human rights, governance, peacebuilding, religion and identity, humanism, gender and politics, among others. The contributors explore the art of performance in Mtukudzi’s music and acting career, and how this facilitated his reconstruction agenda, offering fresh and compelling perspectives into the role of performing artists and cultural workers such as Mtukudzi in presenting models for reconstructing the world.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition

Chronicles the work of Norberto Tavares, a Cabo Verdean musician and humanitarian who served as the conscience of his island nation during the transition from Portuguese colony to democratic republic.

Afrika is currently on a path of development that is not sustainable, because we confuse modernisation with Westernisation. This Afrikan-Western paradox prevents us from building a modern, dynamic Afrikan society - and it will take highly visionary and transformational leadership on our part as Afrikans to reinvent ourselves and build a truly modern Afrikan society. What would the world be like if its institutions were based on the values and practices of a traditional African village? In Leading Afrika, Mandivamba Rukuni re-evaluates the concepts underlying traditional African leadership principles and systems, and illustrates how these can form a modern basis for the African Renaissance. By arguing for the inclusive and traditional values expressed in the philosophy and practices of Unhu-Ubuntu-Botho, the author reminds the reader of historic successes in Africa, and illustrates how leaders globally at all levels can draw on traditional African values the better to lead their nations' people, whether at home, in the community, in business or in government.