Popular Music as Journalism in Zimbabwe

Mano, Winston

doi:10.1080/14616700601056858

Cited by 74 publications

(17 citation statements)

References 6 publications

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“…Its use as a means of political expression by young people is evident in Tanzania, on the East African coast, where it is blended with traditional rhythms to give what is locally called "Bongo Flavor." Utilizing pop music by young people to express sociopolitical views has been described as a form of journalism (Gecau 1996;Mano 2007). Some of these West African musicians have been ingenious enough to blend both African and imported Western rhythms (Collins 1992).…”

Section: Resultsmentioning

confidence: 99%

The Use of Pop Songs by Sierra Leonean Youths in Enjoying the Space Created for Freedom of Expression after the Civil War

Spencer¹

2012

Africa Today

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Section: Resultsmentioning

confidence: 99%

The Use of Pop Songs by Sierra Leonean Youths in Enjoying the Space Created for Freedom of Expression after the Civil War

Spencer¹

2012

Africa Today

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“…Journalism in non-democratic contexts cannot always be easily studied. As art sometimes replaces journalism to circumvent censorship in non-democratic countries (Henneman 2006;Mano 2007;Mpofu 2017;Nenjerama and Sibanda 2019), this would strengthen a case for (re-)evaluating such artistic news work in de-westernised and internationalised (Wasserman and de Beer 2009) contexts. McNair (2018) remarks that authoritarian regimes in the post-digital world face more difficulties in controlling the supply of news.…”

Section: Artistic Journalism As Practicementioning

confidence: 99%

“…There is a rich literature that evaluates news work as a more or less "artistic" endeavour, related to particular genres as wide-ranging as literary journalism (Bak and Reynolds 2011), photojournalism (Hill and Schwartz 2015), news design (e.g., Barnhurst and Nerone 2001), documentary and tv journalism (e.g., Spence and Navarro 2010), as well as journalism in the context of architecture (Bois et al 2016;Wall 2018), theatre (Giordano 2013;Marinho 2018), comics (Koçak 2017;Plank 2014) painting (Embury and Minichiello 2018;Mpofu 2017), music (Mano 2007), poetry (Archetti 2017), and games (Bogost, Ferrari, and Schweizer 2010). The purpose of this article is to conceptually connect this literature with the purpose of operationalising artistic journalism.…”

Section: Introductionmentioning

confidence: 99%

Artistic Journalism: Confluence in Forms, Values and Practices

Postema

Deuze

2020

Journalism Studies

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In the context of changing values, practices and working arrangements, the worlds of journalism and art converge. Evaluating these professions in conflux and beyond their (supposed) opposing ideologies and discourses, remains both controversial and complex. Through a critical hermeneutic analysis, this paper highlights key areas of tension regarding the confluence of journalism and arts. It is argued that journalism is and always has been inextricably interwoven with the arts, a shared existence not limited to Western democracies. The article proposes a continuum as a theoretical model for mapping and exploring the coexistence of artistic and journalistic approaches of news and news work. This "arts and journalism" continuum offers a potentially fruitful dimension of studying news work as a form of artistic practice in a variety of contexts. In conclusion, a consideration of "Artistic Journalism" is proposed as a way for the profession to articulate its creative foundation with its goal to pursue the truth, including the intrinsic and affective motivations of its practitioners.

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“…It may be that what is quite characteristic of popular music lyrics in the Zimbabwean context does not apply in Rwanda, however. The lyrics that have survived seem less to record events or news, than to express timeless qualities about love, life and the everyday (Mano 2007, see also Zimunya 1993). Nonetheless, song lyrics are worth looking at closely since they spring fromand also revealshared understandings of the social and moral world; of culture (Mano 2007).…”

Section: Introductionmentioning

confidence: 99%

Rwandan music-makers negotiate shared cultural identities after genocide: the case of Orchestre Impala’s revival

Ubaldo¹,

Hintjens

2020

Cultural Studies

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In the sensitive post-genocide cultural landscape of Rwanda, this research considers the significance of the recent revival of a musical group that was first popular in the pre-genocide Habyarimana era. Orchestre Impala was perhaps the most popular musical group of the late 1970s and 1980s, and its revival represents something of a novelty in Rwanda's national cultural politics. Perhaps, we suggest, this may reflect a certain 'normalization' of culture, and a sense of continuity in Rwanda. Drawing on personal contacts with musicians, supporters, and observers, we conducted informal interviews, and analysed lyrics of songs still sung, those left behind and those newly created. What emerged was a careful and conscious process of selective recovery of past songs, and the creation of new songs, unified by their association with a genre known as igisope, a term explained in the article. Song texts, translated from the Kinyarwanda, are analysed as a form of historical commentary on the times that Orchestre Impala musicians survived and now find themselves in. We found that Orchestre Impala has been revived with great caution and sensitivity for the post-genocide context in Rwanda. Its popularity draws on shared social imaginaries across generations of Rwandans, and the band's revival seems to signal improved possibilities in future for coming to terms with Rwanda's pre-genocide past. We tentatively propose that revival of Orchestre Impala both reflects and helps to generate elements of cultural continuity in Rwandans' musical landscape. The demands of surviving commercially as a band, implies that political praise-songs remain part of Orchestre Impala's song repertoire today as during the Habyarimana era. KEYWORDS Popular music; igisope; Rwanda; cultural revival; Orchestre Impala; negotiating ' … music is constitutive of social agency in the sense of appropriating wider social, cultural and political conditions to the individualthe process of reconnecting personal and social change' (Sutherland and DeNora 2011, p. 83).

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Popular Music as Journalism in Zimbabwe

Cited by 74 publications

References 6 publications

The Use of Pop Songs by Sierra Leonean Youths in Enjoying the Space Created for Freedom of Expression after the Civil War

The Use of Pop Songs by Sierra Leonean Youths in Enjoying the Space Created for Freedom of Expression after the Civil War

Artistic Journalism: Confluence in Forms, Values and Practices

Rwandan music-makers negotiate shared cultural identities after genocide: the case of Orchestre Impala’s revival

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