- Title
- Reflection and representation: modes of communicating Zimbabwean historical narratives through popular music
- Creator
- Gwindingwe, Gift
- Subject
- Communication Interpersonal communication
- Date
- 2019
- Type
- Thesis
- Type
- Doctoral
- Type
- PhD
- Identifier
- http://hdl.handle.net/10353/15804
- Identifier
- vital:40528
- Description
- Music, before and after independence in the former colonies, has been playing a central role of articulating national concerns. It became an alternative medium through which historical narratives were channeled out to the public. While many scholars have acknowledged the critical role of music’s attempt to whip the autocratic governments into line, and the attempts by the governments across the world to thwart the critical/activism role of music, little emphasis was put on the mechanism of circumventing censorship, the linguistic competence (or lack of it) of music in conscientising the public on national issues. This thesis aims to harness this seemingly entertainment tool (music) into serious academic discourse by looking at the way power relations and ideological contestations are symbolically reflected, represented and communicated in popular culture, in particular the Zimbabwean Sungura and Chimurenga music. It makes a critical analysis of the diction of music as it attempts (or fails to) reflect and represent the Zimbabwean historical narratives from the early 1990s to 2008. The study tries to (semiologically) fracture the musical lexicon and the ideological stance on which it is based to show the extent to which music communicates by way of reflecting and representing the Zimbabwean historical narratives. The thesis looks at how popular music has ‘become the most prominent signifier’ and at ‘the shifting meanings and the significance of … music’ (Nooshin 2005:231) in Zimbabwe. It utilises a qualitative research approach specifically an interpretive prism. Key research methods for the study include in-depth semi-structured interviews which were conducted with purposively selected informants such as university academics and two of the selected musicians. The selected academics were purposively sampled basing on the researcher’s knowledge of their inclination towards Cultural Studies, particularly popular culture. The study has managed to bring clarity to the research questions in a big way considering the application of the various theories that framed the thesis discussion. Research findings indicate that interpretive semiotics aids to unpack the philosophy of meaning making through song. Music as a medium has the reflective effect of a mirror and a photographic effect of a camera to enunciate the ideological innuendo in the leader-led dichotomy. The study shows that protest popular music rejects knowledge that affirms the status quo; it is counter hegemonic and seeks to regenerate selfhoods and self-liberation amongst the subaltern class.
- Format
- 294 leaves
- Format
- Publisher
- University of Fort Hare
- Publisher
- Faculty of Social Sciences and Humanities
- Language
- English
- Rights
- University of Fort Hare
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| Thumbnail | File | Description | Size | Format | |||
|---|---|---|---|---|---|---|---|
| View Details | SOURCE1 | GWINDINGWE_201613978_COMMUNICATION.pdf | 2 MB | Adobe Acrobat PDF | View Details |