COUNTRY

REPORT

Konrad-Adenauer-Stiftung e.V.
ZIMBABWE
BLESSING VAVA
June 2014
Links
www.kas.de/Simbabwe

Role of Arts & Culture in Political

Transpormation
HOW IT SHAPES PUBLIC DISCOURSE

The past and present centuries have

Culture is a peace keeping phenomenon

been awash with artistic productions

and cultural practises that speak to-

Culture, for instance is a peace keeping

wards political life- whether dynamic or

phenomenon that undermines conflict re-

static. Arts and culture have played a

configuration by giving emphasis to solu-

big influence and role in influencing so-

tions on specific social or political ills while

ciety and public discourse and partici-

moulding or reasserting group identities -

pation in politics. The arts and culture

e.g the popular expression of the spirit of

have been catalysts for positive social

Ubuntu. Identity emanates through the ex-

change and transformation.

pression of artistic skills that are unique to

our own society sometimes known as cul-

They represent the ideals, norms and stan-

tural relativism. In conflict scenarios culture

dard

with

tends to be the stringent to further harm or

which a people identify with and are obliged

violations as it teaches us to tolerate one

to comply for the sake of social harmony

another and humanity is thus promoted. In

and co-habitation - crudely understood as

this regard culture can be said to be that

social order. It is the idealism of a norma-

emphasis to live and observe a set of moral

tive world that artistic and cultural acts seek

etiquette. The principle of morality in poli-

to raise by exposing socio-economic and

tics is one which this paper will devote some

political ills. From a crude understanding

effort to. Liberation political movements of-

one would define culture as the ideas, cus-

ten find their niche in political conflicts by

toms, and social behaviour of a particular

rallying people around morality and cultural

people or society. Many a times it is these

progression. It is the mention of moral les-

ideas and customs that regulate human in-

sons of life that distinguishes right from

teraction and form the basis of our political

wrong, oppression from freedom and anar-

system. John Street in his cultural determi-

chy from order.

acceptable

group

behaviours

nist interpretation of politics asserts the inextricable nexus between culture and poli-

Conceptual Conflict

tics arguing thus if we fail to take popular

culture seriously, we impoverish our under-

Global politics has always been a sphere of

standing of the conflicting currents and as-

conceptual conflict over the role that arts

pirations which fuel politics.

and culture play with radical Universalists

arguing for cultural erosion into a global en-

In this article I seek to reinforce the credible

tity, it is cultural relativism that remains

role that arts and culture play in fostering

safeguarding national sovereignty and pres-

public

political

ervation of identities. What is of interest is

transformation towards an idealised society.

that political universalism has also tended

awareness

and

positive

to derive part of its legitimacy to morality governments that violate human rights are
seen as immoral.

The discourse on human rights itself derives

anonymous

from natural law which emphasize morality

symbols and the raised fist are two exam-

ZIMBABWE

in political organisation. Natural law be-

ples that highlight the democratic ownership

BLESSING VAVA

comes an aspect related to Culture - which

of these signs. Protest art also includes (but

envisages an ideal society.

is not limited to) performance, site-specific

Konrad-Adenauer-Stiftung e.V.

The

various

peace

installations, graffiti and street art, and

June 2014

Coming of the Dry Season

crosses the boundaries of art genres, media, and disciplines. While some protest art

Links
www.kas.de/Simbabwe

authors.

Numerous artistic plays have been produced

is associated with trained and professional

over the years to challenge oppression or

artists or musicians, an extensive knowl-

suppression of rights of citizens or challenge

edge of art is not required to take part in

a specific social construct such a play would

protest art. Protest artists frequently bypass

be Shakespeares Romeo and Juliet which

the art-world institutions and commercial

challenged the vagaries of societies built

gallery system in an attempt to reach a

around a caste system - divisions based on

wider audience.

wealth. In Zimbabwe, Charles Mungoshis

Coming of the Dry Season is one notable

It has long been established that some as-

play that exposed the excesses of British

pects of Arts and Culture e.g. music, play a

colonialism while rallying the youth to take

significant role in promoting health, social

up a leadership role as a vanguard of the

cohesion and uniting society. Schools with

liberation movement. In post-colonial Zim-

strong fine arts departments have, accord-

babwe the piece serves as a reminder of the

ing

principles that rallied national independ-

grades than those without. This is often al-

ence. It is indeed indispensable that arts

luded to the emphasis on critical thought.

and culture would give young people or a

To this end Arts and Culture enhance and

society an opportunity to introspect on so-

change life for the better.

to

recent

studies,

achieved

higher

cial and political structures that they had

not been inclined to.

The Importance of the Arts and Culture

in the Democracy Debate

Arts and Culture can be expressed through

music or play which is also known as pro-

Zimbabwe is a classic case of a nation that

test arts often popular in closed societies.

has evolved over time experiencing changes

Protest artists use the banner of entertain-

of different magnitude often facilitated by

ment to trigger critical thinking among au-

arts and culture. This paper will explore nar-

diences on particular issues using riddles as

ratives, tracing back to the 14th century,

a modicum of communication. There are

early years of colonisation, Zimbabwes war

many politically charged pieces of fine art -

of liberation and post-independence. The

such as Picasso's Guernica, some of Norman

importance of the arts and culture in politi-

Carlberg's Vietnam War-era Work, or Susan

cal transformation cannot be underesti-

Crile's images of torture at Abu Ghraib. In

mated especially in the democracy debate

contemporary times Tafadzwa Muzondo is

of any society.

one such artist with his painting and plays,

the Zimbabwe Poets for Human Rights have

14th Century

also exposed the vagaries of dictatorships

and misgovernment through poetry. Social

During the 14th century, a classic piece of

movements produce such works as signs,

art/architecture, the Great Zimbabwe was

banners, posters, and other printed materi-

constructed by the Mutapa people south-

als used to convey a particular cause or

eastern hills of Zimbabwe near Lake Mu-

message. Often, such art is used as part of

tirikwe and the town of Masvingo. It was

demonstrations or acts of civil disobedience.

the capital of the Kingdom of Zimbabwe

These works tend to be ephemeral, charac-

during the country's Late Iron Age. Con-

terized by their portability and disposability,

struction on the monument by ancestors of

and are frequently not authored or owned

the Shona people began in the 11th century

by any one person - such as the famous

and continued until the 14th century.

It was a cultural heritage and until today it

their beloved ones. There had to be ways of

plays as one of Zimbabwes best tourism a

dealing with stress, ease tension as the war

ZIMBABWE

site which has thus led to the booming of

was progressing.

BLESSING VAVA

the tourism in the industry in Masvingo.

June 2014

Masvingo now boasts of several hotels and

common phenomenon in the war of libera-

thus created employment for the locals. The

tion. As one scholar said: Music plays a

Links

artistic value of the great Zimbabwe is also

powerful role in society. It plays a promi-

www.kas.de/Simbabwe

seen in the eight Zimbabwe birds carved

nent role in the ability to create associations

from micaceous schist (soapstone) on the

to place and to cause emotional impact.

tops of monoliths the height of a person,

Music has the potential to influence emo-

until this day the bird is part of national in-

tions and to positively express the sense of

signia on our national flag. It is this artistic

belonging to a specific group; it can also

creation that has become the symbol of na-

communicate antagonistic attitudes towards

tionhood not to underestimate the impor-

other groups. [Grant et al. 2010: 185].

Konrad-Adenauer-Stiftung e.V.

Music, song, dance and drama became a

tance that it played in the liberation struggle

Nationalist

Zimbabwean music has played a major role

struggles were equally driven by the desire

from

colonial

bondage.

in social identity formation. In the everyday

to protect and preserve national heritage

life

and culture. Many are privy of how Nehanda

threads throughout the society. It not only

and Kaguvi mourned the westernisation

predates colonialism but also links to Zim-

project on African soil and the elderly would

babwean historical and cultural processes.

dramatised narrate stories of how colonial

Many of the songs are about the problems

incursion had led to an assimilated western

of the poor, and most of the musicians live

culture. These artistic and cultural expres-

in the same locations as their listeners.

sions were to be the rallying point of the

Music was a central part of Zimbabwean

decolonisation project and equally the same

society, e.g. in times of war and peace at

tune sung by the early nationalist move-

workplaces, in the home and outdoor, in

ments dominates post-colonial Zimbabwes

religion and social ceremonies (rain-making,

political discourse though now dominated by

collective labour, religion, marriage, death

a mantra of hatred meant to stall democ-

or love, for instance) [Mano 2007: 67].

of

the

people,

Zimbabwean

music

ratic dialogue and progress.

This article traces the role music and other
Significant Role of Music and Play

forms of art during and after independence,

and the present day. It will highlight how

Zimbabwe has had a long history of a pro-

music has continued to play influence in ei-

tracted war of liberation during the colonial

ther shaping political discourse of social

era where music and dance played a signifi-

transformation. The extent of influence and

cant role during that time. To a greater ex-

importance come in different ways which

tent music was a powerful tool in driving the

will be explored in this paper.

war of liberation. The power of art has

deeper effect and emotional therapeutic ef-

Pre-Independence-Music and the War

fect in any society. Some scholars have

of Liberation

since argued that indeed the war was won

through song and dance, drama and poetry.

Zimbabwes war of liberation started in

Those who participated during the war had

1966 which marked the second Chimurenga

left their homes, their beloved wives, chil-

(war of liberation). During that time guerril-

dren and parents in pursuit of one goal, to

las used to do night vigils known as pung-

liberate the country from the yoke of colo-

wes and these were gatherings which were

nialism. In a war environment there is a lot

meant to provide entertainment, relieve

of

stress and it was again a platform to boost

emotional

stress

resulting

from

the

deaths, injuries, and violence and above all

the stress of living in the bush away from
the comfort of ones home and away from

morale and inspire the fighters.

Songs that were composed during that time

Songs like, Tumira Vana Kuhondo [1977]

mirrored the trials and tribulations of the

(Send Their Children to War), were meant

ZIMBABWE

oppressed masses. It gave society hope and

to mobilise young men and women to join

BLESSING VAVA

the zeal to fight oppression and most of the

the war of liberation. To show the extent of

compositions were in the vernacular lan-

influence in Mapfumos compositions in the

guage, mainly to create a language barrier

society, the state banned his songs from

with the whites because the some of the

being played on radio and he was arrested

lyrics were insulting.

on several occasions as a result.

Music and poetry were tools and forms of

Oliver Mtukudzi

Konrad-Adenauer-Stiftung e.V.

June 2014
Links
www.kas.de/Simbabwe

social commentary that were used to move

the masses to act. Several talented musi-

Another musician whose music had great

cians emerged in the bush, and composed

impact and influence during that time was

music that inspired the guerrillas.

Oliver Mtukudzi. He recorded Dzandimomotera which was inspired directly by Zim-

Musicians

better

babwes 1970s war of liberation. The song

known as Cde Chinx, LMG Choir, ZANLA

like

Dickson

Chingaira

depicted the black mans life struggles un-

Choir, composed inspirational songs that

der the minority white settler regime; it was

drove the war of liberation. Songs like Ma-

a troubled mans prayer for redemption.

ruza imi (You have lost) suggesting that

the Rhodesians have lost the war became

Olivers compositions were about peoples

anthems during pungwes and they gave the

power, freedom and hope. He also did Mu-

fighters hope that indeed the war will be

tavara, a song was about a man bidding

won. Other compositions merely played a

farewell as he leaves home to take up arms.

unifying role as it created a strong bond

After the country attained independence

amongst the fighters who were drawn from

from British colonial rule in 1980, Oliver re-

different tribal, geographical backgrounds.

leased his fourth album, titled Africa which

Songs like nzira dzemasoja (A soldiers

carried hits like Zimbabwe a celebratory

code of conduct) were songs that guided

song for majority rule. The title track to the

the conduct of the guerrillas in the bush it

album Africa symbolized the peoples de-

spoke how a soldier must behave, to obey

termination for self-rule.

rules and regulations, not to exploit or rob

the masses, return anything confiscated for

Before independence and during the colonial

military reasons. Music was also used as a

period, Olivers lyrics spoke against white

mobilisation tool to recruit fighters.

supremacy rule under the Rhodesian regime.

Thomas Mapfumo

Mtukudzis

music

carefully

spoke

against oppression and the repressive regime and how the black people were suffer-

There are other musicians who were not

ing because of colonisation. As for poetry,

necessarily in the battlefront but whose mu-

liberation war poets like Christopher Ma-

sic inspired the struggle and the masses of

gadza, Freedom Nyamubaya and Thomas

this country. One such outstanding musician

Bvuma focused on the fighters experience

is Thomas Mapfumo, who sang about poli-

of the war, although the former transcends

tics, social injustices, poverty and chooses

this by offering an inclusive nationalist and

highly emotive lyrics. He championed the

trans-nationalist perspective. All three poets

plight of the rural masses by singing protest

question the direction the postcolonial state

songs which criticised the colonial regime.

has taken.

Before independence he did compositions

such as Hokoyo (Watch out), Pfumve paruzevha (Hardships in the rural areas)
which depicted the plight of the rural people
ar a time when the freedom fighters were in
battle with the Rhodesian army.

Magadza, despite the conservatism of form

What is striking is the realisation that

and diction, uses language of indictment

through entertainment political messages

ZIMBABWE

associated with African oral literature to

can be communicated which have a direct

BLESSING VAVA

castigate cultural and political defilement,

bearing on how people associate with their

and short national memory in his poems

leadership or challenge a status quo. Civics

Ghosts in the Maize Fields and Quiet Di-

working in human rights have also (though

plomacy. It is not just bodies that are

not exhausted) the use of art and culture in

Links

eliminated and disappear but also the na-

peace building and democratisation proc-

www.kas.de/Simbabwe

tions capacity to remember and mourn

esses.

Konrad-Adenauer-Stiftung e.V.

June 2014

those destroyed by a revolution that has

gone wrong [An Overview of Zimbabwean
poetry 2008].
Conclusion
Post-Independence
From the discussion the article has analysed
At the don of independence, music contin-

the conceptual and theoretical frameworks

ued to play a great influence in our society.

around the significance of culture and poli-

The main actors were of course Mapfumo

tics tracing the empiricism of its global use

and Mtukudzi. In 1980, the government of

then narrowing down to internal political

Zimbabwe invited Jamaican reggae star Bob

processes that have been communicated

Marley. Years to come we also saw musi-

through arts in Zimbabwe. It is therefore

cians like Thomas Mapfumo at the forefront

indispensable for political and social move-

singing against corruption especially in 1987

ments to impact communities by way of art

when government ministers were involved

that reignites the cultural foundations of

in a vehicle scandal called the Willowvale

Zimbabwean society as we return to a po-

scandal. The government banned the song

litical normative discourse of a fairer and

corruption and Mapfumo became a target

better future. The evolution of culture and

as lyrics on his song corruption raised

its seemingly global outlook still derives

awareness to the nation.

from the Natural School of Law of a just

world.

Leonard Karikoga Zhakata

Numerous

other

musicians

have

since

emerged exposing social and economic ills -

Blessing Vava is a blogger and a politi-

another famous being Leonard Karikoga

cal commentator

Zhakata with his Mugove and Mubikira

Imprint

hits. Oliver Mtukudzis Bvuma was inter-

Extract from a Book titled Arts and Cul-

preted by society as showing a dented auto-

ture in a Changing Society which will

Konrad-Adenauer Stiftung

crat who continues to cling to power, the

be published by the Konrad-Adenauer-

26 Sandringham Drive

song saw legal prosecutions of members of

Foundation later in 2014.

Alexandra Park

the public who used the song to undermine

P.O Box 4325

the person of the president.

The opinions and views expressed in

Harare/ Zimbabwe
Tel: +263 4 74 46 02 or
+263 4 74 45 53

this article are the responsibility of the

The post 2000 era presents an interesting

author. The Konrad-Adenauer-Stiftung

development when political parties scram-

does not necessarily subscribe to the

bling for power used music as a way of ral-

opinions and views.

lying

their

supporters

and

selling

their

manifestos, ZANU-PF had its Mbare choir,

Tambaoga and Bornfree Crew while the
MDC had protest songs from Paul Madzore
and Dread Reckless.