Tanaka Chidora – författare

This book investigates how Zimbabwean literary texts subvert state-sponsored amnesia when it comes to the many forms of past and ongoing political violence in Zimbabwe.Zimbabwean Literature provides an important space for confronting the past and reflecting on how violence continues into the present day. This violent past was forgotten either through the promise of violence against those who sought to remember, or by depicting the violence as a necessary tool of a never-ending decolonisation process, or by appealing to the logic of letting bygones be bygones. For instance, by claiming that the five years of the Gukurahundi genocide were ‘a moment of madness’, Robert Mugabe set a climate of state-sponsored amnesia which has persisted through subsequent acts of state violence and into the Mnangagwa era. Drawing on key works by Shimmer Chinodya, Alexander Kanengoni, Yvonne Vera, Novuyo Rosa Tshuma, Brian Chikwava, Chenjerai Hove, Panashe Chigumadzi, and NoViolet Bulawayo, this book investigates how fictional works challenge this state-sponsored amnesia, in relation both to Gukurahundi and other past and ongoing forms of violence. Bringing together iconic literary texts from 1980 to 2022, the book draws a common thread through the texts’ connected histories and highlights their role in de-silencing the past.Situated at the interface of memory studies and literary criticism, this book will be of interest to researchers across the fields of African literature, politics, development, and history.

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. 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.