The Zimdancehall Revolution: Critical Perspectives

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1. Introduction and Background - Tanaka Chidora, Doreen Rumbidzai Tivenga, Ezra Chitando
2. Zimdancehall's Pre-History and Roots - Leroy Dzenga
3. Zimdancehall and Youth Culture - Leroy Dzenga
4. The Zimdancehall Underground and Youth Resistance from the Margins Pauline Mateveke and Tanaka Chidora.
5. Zimdancehall Music and the Voices of Zimbabwean Youth - Solomon Gwerevende
6. Say Their Name: Zimdancehall Chanters & the Politics of Representation - Zvinashe Mamvura and Tanaka Chidora
7. Zimdancehall and The State - Shingi Mavima
8. Zimdancehall and Everyday Urbanism - Abraham Matamanda
9. Zimdancehall's Elite Capture - Wellington Gadzikwa
10. Soul Jah Love's Necropolitaniasm - Tanaka Chidora and Joseph Mujere
11. Soul Jah Love and Representations of Orphanhood and Motherhood in Zimdancehall - Ruby Magosvongwe
12. Soul Jah Love and the Ambivalent Representation of Women in Zimdancehall - Doreen Tivenga and Ushehwedu Kufakurinani
13. Feminist Zimdancehall's Subversion of Women's Objectification - Doreen Tivenga and Ushehwedu Kufakurinani
14. Religion and Spirituality in Zimdancehall - Ezra Chitando
15. Zimdancehall and Afrofuturism - Irikidzayi Manase
16. Zimdancehall's Future -

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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.

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