Introduction:

Raftopoulos, Brian; Mlambo, A. S.

doi:10.2307/j.ctvk3gmpr.8

Cited by 19 publications

(21 citation statements)

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“…The European-born farmer, Buckle (2002), and the black Zimbabwean, Mtizira (2008), both harness dance to diversely evoke the post-2000 jambanja experiences. The reference to jambanja in the post-2000 Zimbabwe context, therefore, acknowledges the often-cited violent and chaotic encounters characterizing that process (Primorac 2007; Raftopoulos 2009; Mlambo 2013; Manase 2011)—a view reflected in Buckle's work, but contested in Mtizira's. Their contrasting perceptions and reconstructions of kongonya, the dance attending jambanja, suggest that Buckle and Mtizira view the Zimbabwean land reform program differently.…”

Section: Rationale For Analyzing Literary Workmentioning

confidence: 98%

“…The tense controversies surrounding the reception and interpretation of the post-2000 Zimbabwe land redistribution exercise and her subsequent crises (Raftopoulos 2009) were also resonant in the emerging literary works on Zimbabwe's land question (Magosvongwe 2013; Chidora 2017). Zimbabwean writers appear organized in opposing camps in their representation of the unravelling Third Chimurenga 7 , or jambanja.…”

Section: Rationale For Analyzing Literary Workmentioning

confidence: 99%

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Interpreting Zimbabwe's Third Chimurenga Through Kongonya: Representations of Post-2000 Zimbabwean Dance in Buckle'sBeyond Tears: Zimbabwe's Tragedyand Mtizira'sChimurenga Protocol

Gonye¹

2020

Dance Res. J.

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The Zimbabwean writers Catherine Buckle and Nyaradzo Mtizira reimagine kongonya dance in their works Beyond Tears: Zimbabwe's Tragedy (2002) and The Chimurenga Protocol (2008), respectively. Both the European-born Buckle and the black Zimbabwean Mtizira harness the dance to evoke the post-2000 jambanja experiences associated with Zimbabwe's controversial “Third Chimurenga,” or the fast-track land reform program, beginning in 2000. Their contrasting depictions of dance epitomize the differing views on Zimbabwe's land reform program. Largely, whereas Buckle's novel is a memoir which personalizes a farmer's encounters with dancing African/Zimbabwean “land invaders,” Mtizira's is a panegyric that collectively reimagines a nation's defiant revolution against purported forces of Western imperialism. Both writers’ representations of the post-2000 Zimbabwe's dance performances are therefore colored and compromised by racial subjectivity.

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Section: Rationale For Analyzing Literary Workmentioning

confidence: 98%

Section: Rationale For Analyzing Literary Workmentioning

confidence: 99%

Interpreting Zimbabwe's Third Chimurenga Through Kongonya: Representations of Post-2000 Zimbabwean Dance in Buckle'sBeyond Tears: Zimbabwe's Tragedyand Mtizira'sChimurenga Protocol

Gonye¹

2020

Dance Res. J.

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“…The 2008 election occurred during a period of acute crisis, with hyperinflation at an official level of 230 million per cent (Raftopoulos 2009). The results, delayed for a month, showed dramatic MDC successes: between them, the two MDC parties had won 109 parliamentary seats to ZANU(PF)'s 97, while Tsvangirai had secured 47·9% in the presidential poll to Mugabe's 43·2%, thus triggering a run-off.…”

Section: Background To Zimbabwe's 2013 Electionmentioning

confidence: 99%

The battle for Zimbabwe in 2013: from polarisation to ambivalence

Gallagher

2015

J. Mod. Afr. Stud.

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On the face of it, the triumph of Robert Mugabe and ZANU(PF) in the 2013 elections came as a shock, not least to opposition MDC activists. However, after a period of introspection, many have begun to construct a coherent and wide-ranging account of the result which explores opposition shortcomings, and the revived relationship between the electorate and Mugabe's ZANU(PF). This article, based on interviews with political activists conducted three months after the election, outlines and attempts to explain this account. It explores the way in which a politics of polarisation that dominated Zimbabwe in recent years appears to have given way to a politics of ambivalence: where Zimbabweans once viewed their political landscape as one populated by antinomies, they now see their state and its relation to themselves in more complex and ambiguous ways. As a result, Zimbabweans' conception of the state is increasingly coming to resemble Mbembe's formulation of states as contemporaneously ‘organizers of public happiness’ and wielders of arbitrary violence.

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“…The ZANU PF government that spearheaded jambanja following 2000 had embarked on a drive to resuscitate that party's waning influence, appease the overcrowded rural population, and also punish the white farmers for supporting the newly formed Movement for Democratic Change party (MDC) (Raftopoulos 2009). Jambanja , or the Third Chimurenga, as the much acclaimed land reform exercise came to be known, was soon hijacked by powerful members of the ruling party who used party supporters to take over farms on their behalf.…”

Section: The Second Chimurenga Pungwes and Kongonyamentioning

confidence: 99%

Mobilizing Dance/Traumatizing Dance: Kongonya and the Politics of Zimbabwe

Gonye¹

2013

Dance Res. J.

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The article analyzes kongonya dance as it occurs in everyday Zimbabwean spaces. Tracing its origins, utility, and metamorphosis, I studied kongonya dance in its performed world; observed kongonya being danced at a pungwe, a gala, and a political function; and watched kongonya being performed on state television. Through participant-observations, respondent testimonies, and personal interviews of dancers and nondancers for all these contexts, pertinent data on kongonya were collected. The article contends that kongonya has both a human and inhuman face, having been transformed from a dance for the people into a dance against the people—a phenomenon at the mercy of political manipulators. Despite kongonya having creatively promoted the nationalist cause of the 1970s Zimbabwean liberation party, kongonya has been abused in the postcolonial state in an attempt to placate citizens, suppress dissension, and (also) in the hopes of reinvigorating the waning fortunes of the ruling party, ZANU PF. Initially, kongonya reflected an apparently more national outlook than an ethnic one, but lately it has revealed rather hegemonic traits. Regrettably, politicians sought to manipulate the malleability of dance and harness kongonya's national character to an exclusionist political agenda.

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Introduction:

Cited by 19 publications

References 0 publications

Interpreting Zimbabwe's Third Chimurenga Through Kongonya: Representations of Post-2000 Zimbabwean Dance in Buckle'sBeyond Tears: Zimbabwe's Tragedyand Mtizira'sChimurenga Protocol

Interpreting Zimbabwe's Third Chimurenga Through Kongonya: Representations of Post-2000 Zimbabwean Dance in Buckle'sBeyond Tears: Zimbabwe's Tragedyand Mtizira'sChimurenga Protocol

The battle for Zimbabwe in 2013: from polarisation to ambivalence

Mobilizing Dance/Traumatizing Dance: Kongonya and the Politics of Zimbabwe

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