04195nam a22004695i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001600153072001700169072002300186072001600209245015000225250001800375264007900393300004400472336002600516337002600542338003600568347002400604505082500628520167801453650001903131650002303150650001303173650002103186650001903207650002103226650002103247700007803268700008803346700007703434710003403511773002603545776003603571776003603607776003603643856004603679978-3-031-41854-9DE-He21320251030110830.0cr nn 008mamaa231107s2024    sz |    s    |||| 0|eng d  a97830314185497 a10.1007/978-3-031-41854-92doi 4aML3469-3543 7aAVGN2bicssc 7aMUS0290002bisacsh 7aAVLP2thema14aThe Zimdancehall Revolutionh[electronic resource] :bCritical Perspectives /cedited by Tanaka Chidora, Doreen Rumbidzai Tivenga, Ezra Chitando.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXVII, 350 p. 4 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 a1: Introduction and Background -- 2: Zimdancehall's Pre-History and Roots -- 3: Zimdancehall and Youth Culture -- 4: The Zimdancehall Underground and Youth Resistance from the Margins -- 5: Zimdancehall Music and the Voices of Zimbabwean Youth -- 6: Say Their Name: Zimdancehall Chanters & the Politics of Representation -- 7: Zimdancehall and The State -- 8: Zimdancehall and Everyday Urbanism -- 9. Zimdancehall's Elite Capture -- 10: Soul Jah Love's Necropolitianism -- 11: Soul Jah Love and Representations of Orphanhood and Motherhood in Zimdancehall -- 12: Soul Jah Love and the Ambivalent Representation of Women in Zimdancehall -- 13: Feminist Zimdancehall's Subversion of Women's Objectification -- 14: Religion and Spirituality in Zimdancehall -- 15: Zimdancehall and Afrofuturism -- 16: Zimdancehall's Future.  aZimdancehall 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. Itis, 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. 0aPopular music. 0aEthnologyxAfrica. 0aCulture. 0aPopular Culture.14aPopular Music.24aAfrican Culture.24aPopular Culture.1 aChidora, Tanaka.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt1 aRumbidzai Tivenga, Doreen.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt1 aChitando, Ezra.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303141853208iPrinted edition:z978303141855608iPrinted edition:z978303141856340uhttps://doi.org/10.1007/978-3-031-41854-9