Tracing Humour in Paul Matavire's Selected Songs

Saidi, Umali

doi:10.1080/18125980.2015.1031449

Cited by 4 publications

(2 citation statements)

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“…But what Viriri et al (2011) do not appreciate is the general socio-economic and political conditions the youths exist both as artistes as well as listeners which reflect the creative and deconstruction attitudes of the songs. Saidi (2015) studied humour in Paul Matavire's selected songs paying particular attention to recurrent themes which are of a social-marital nature such as intimacy, romance and social relations. Saidi applauds 'Doctor Love's' creative nature and traces humour and how through the same social and cultural values, crucial for the maintenance of society are advanced.…”

Section: Conceptualizing Zimdancehallmentioning

confidence: 99%

“…It should be noted that a great deal of research, for instance, Viriri et al (2011), Saidi (2015, Manase (2011), Tembo andMpofu (2015) has been done to reveal the influence, nature and role of music in society which Bennett (2000, p.6) terms "a motor force" in the cultural construction of the everyday world. Showcased is how musicians, songs and audiences are integrated to the social construction of meanings for their lives which in this case can be investigated by analyzing a musical genre.…”

Section: Introductionmentioning

confidence: 99%

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Locating the nihilistic culture within Zimdancehall in contemporary Zimbabwe

Mabuto¹,

Saidi²

2018

DANDE

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A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country’s increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align themselves to rather destructive misogynistic behaviours which somehow characterises contemporary Zimbabwe. Established in the article is the extent to which language used in Zimdancehall music is socially charged as well as globalized thus influencing youth feelings, emotions and behaviors. The article analyses lyrics of selected songs as well as makes references to selected musical videos from Zimdancehall artistes such as Soul Jah Love, Winky D, Lady Bee and Killer T as prominent artists revealing what has come to be considered contemporary ‘ghetto culture’ within popular culture in Zimbabwe. It is further argued that Zimdancehall has come to shape, inform behaviors, perceptions and aspirations of the Zimbabwean youth largely due to its nature of production as well as dissemination.

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Section: Conceptualizing Zimdancehallmentioning

confidence: 99%