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Zimbabwe Dancehall Music as a Site of Resistance
Abstract
The popularity and consumption of dancehall music in Zimbabwe has grown exponentially over the past few years. However, despite its popularity, Zimdancehall has attracted controversy for promoting violence and vulgar behavior among other ills. This chapter casts aside society's moral judgements in order to investigate Zimdancehall music's role as an alternative public sphere. Using Fraser's alternative public sphere and Bakhtin's carnivalesque as its conceptual framework, and Norman Fairclough's approach to Critical Discourse Analysis as its methodology, the study analysed the discourses that underpin Zimdancehall music. The chapter argues that Zimdancehall music has become a counter public that provides marginalised youths with a platform to resist the dominant state-sponsored patriotic discourse. The music genre has opened a liberating alternative communicative space, outside of state control and ZANU-PF's patriotic discourse, where marginalised youths can symbolically invert their reality, protest as well as articulate their needs and aspirations freely.
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