This study pursues the struggle for space voice and recognition in Zimdancehall and Sungura music. In this study, intense interest has been on names and metaphorical constructs of self-glorification in Zimdancehall and Sungura music. It established that artists deploy metaphorical constructs and nommoic creativity in the struggle for space, voice and authority. It is inspired by the growing interests in boasts in Zimbabwean music. Informed and guided by Afrocentricity, the study holds that artists are using nicknames to glorify themselves as a strategy of winning the hearts of the audience.
The study argues that boasts are not new in the Shona culture and they are as old as language itself. It is argued and maintained in the study that Zimdancehall and the Sungura musicians are tapping from African cultural heritage to express individuality in a competitive industry. Metaphors, imagery and nicknames are deployed in the struggle for prominence.
Table of Contents
- CHAPTER ONE - INTRODUCTION
- 1.1. Introduction
- 1.2. Objectives
- 1.3. Statement of the problem
- 1.4. Background of Study
- 1.5. Significance of Study
- 1.6. Theoratical framework
- 1.7. Research Methodology
- 1.8. Primary sources
- 1.8.1. Music
- 1.8.2. Interviews
- 1.8.3. Questionnaire
- 1.9. Secondary sources of data
- 1.10. Literature review
- 1.11. Limitation of the study
- 1.12. Definition of Key terms
- 1.13. Dissertation lay out
- CHAPTER TWO BOASTS AND AFROTRIUMPHALISM IN TRADITIONAL SHONA SOCIETY
- 2.1. Introduction
- 2.2. Unpacking the Concept boasts
- 2.3. Boasts in Nicknaming
- 2.4. Nhimbe
- 2.5. Boasts in courtship
- 2.6. Blacksmithing
Objectives and Key Themes
This study investigates the use of self-glorification in Zimdancehall and Sungura music, exploring how artists utilize metaphorical constructs and nicknames to gain recognition and authority within a competitive industry. The research examines the cultural context of boasting within Shona society, arguing that these practices are rooted in African traditions and serve as a means of self-expression and audience engagement.
- Self-glorification and its manifestations in Zimdancehall and Sungura music.
- The role of metaphors, imagery, and nicknames in achieving prominence.
- The connection between boasting in contemporary Zimbabwean music and traditional Shona culture.
- The strategies employed by artists to gain audience attention and recognition.
- The cultural significance of boasting as a form of self-expression and identity construction.
Chapter Summaries
CHAPTER ONE - INTRODUCTION: This introductory chapter sets the stage for the dissertation. It lays out the study's objectives, focusing on the struggle for space, voice, and recognition in Zimdancehall and Sungura music through self-glorification. The chapter establishes the research problem, highlighting the growing interest in boasts within Zimbabwean music. It outlines the significance of the study, detailing its Afrocentric approach which posits that artists utilize nicknames to connect with audiences. The methodology, including primary (music, interviews, questionnaires) and secondary sources, is explained. The chapter concludes by defining key terms and outlining the dissertation's structure. The theoretical framework grounding the research is also introduced here, setting the context for the analysis to follow.
CHAPTER TWO BOASTS AND AFROTRIUMPHALISM IN TRADITIONAL SHONA SOCIETY: This chapter delves into the historical and cultural context of boasting within traditional Shona society. It unpacks the concept of boasts, exploring their manifestations in various aspects of Shona life, including nicknaming, courtship rituals, and blacksmithing traditions. The chapter establishes a link between contemporary boasting in Zimdancehall and Sungura music and its deep-rooted presence in Shona cultural heritage. By analyzing examples from traditional Shona practices, the chapter provides a foundation for understanding the cultural significance of self-glorification in modern Zimbabwean music. It argues that these boasting traditions are not simply modern inventions but are deeply embedded in the cultural fabric of the Shona people.
Keywords
Zimdancehall, Sungura music, self-glorification, boasting, metaphors, nicknames, Shona culture, Afrocentricity, African music, identity, audience engagement, competitive music industry, cultural heritage.
Frequently Asked Questions: A Comprehensive Language Preview
What is the main topic of this study?
This study investigates the use of self-glorification, specifically boasting, in Zimdancehall and Sungura music in Zimbabwe. It explores how artists use metaphors, nicknames, and other techniques to gain recognition and authority in a competitive music industry, connecting these practices to traditional Shona cultural roots.
What are the key themes explored in this research?
Key themes include self-glorification and its manifestations in Zimdancehall and Sungura music; the role of metaphors, imagery, and nicknames in achieving prominence; the connection between contemporary boasting and traditional Shona culture; the strategies artists use to gain audience attention; and the cultural significance of boasting as self-expression and identity construction.
What is the scope of the study?
The study examines both contemporary Zimdancehall and Sungura music and traditional Shona cultural practices. It analyzes how boasting in modern music is connected to historical and cultural contexts within Shona society.
What methodologies are employed in this research?
The research utilizes a mixed-methods approach. Primary sources include music analysis, interviews, and questionnaires. Secondary sources are also used. The study adopts an Afrocentric perspective, emphasizing the significance of African cultural traditions in shaping musical practices.
What are the key chapters and their contents?
Chapter One: Introduction provides background, objectives, methodology, and defines key terms. Chapter Two: Boasts and Afrotriumphalism in Traditional Shona Society explores the historical and cultural context of boasting within Shona society, examining its manifestations in various aspects of Shona life and establishing a connection to contemporary music practices.
What are the key findings or arguments presented?
The study argues that boasting in Zimdancehall and Sungura music is not a modern invention but is deeply rooted in the cultural heritage of the Shona people. It demonstrates how artists strategically employ boasting techniques to connect with their audience and achieve success within a competitive music industry. The Afrocentric approach highlights the importance of understanding the cultural context to fully appreciate the significance of these practices.
What are the keywords associated with this study?
Zimdancehall, Sungura music, self-glorification, boasting, metaphors, nicknames, Shona culture, Afrocentricity, African music, identity, audience engagement, competitive music industry, cultural heritage.
What is the overall purpose of this language preview?
This language preview provides a comprehensive overview of the research, including the objectives, key themes, chapter summaries, and keywords, offering a structured and professional analysis of the themes investigated.
- Citar trabajo
- Patrick Dhire (Autor), 2016, Self-glorification in Zimdancehall and Sungura Music, Múnich, GRIN Verlag, https://www.grin.com/document/369620
