
Contents
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Introduction Introduction
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Youth and Political Violence in Mbare Youth and Political Violence in Mbare
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Understanding Urban Grooves and Zimdancehall Music Understanding Urban Grooves and Zimdancehall Music
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Methodological Approach Methodological Approach
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Youth Group Singing in Mbare Youth Group Singing in Mbare
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Youth, Music, and Peacebuilding Youth, Music, and Peacebuilding
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Group Singing, Tolerance, and Conviviality Group Singing, Tolerance, and Conviviality
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Conclusion Conclusion
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Notes Notes
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References References
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45 Community Singing, the Church of England, and Spirituality: The Singer, the Song, and the Singing
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41 Youth, Group Singing, and Peacebuilding in Urban Zimbabwe
Get accessSimbarashe Gukurume is a social scientist working at the intersections of Sociology and Social Anthropology and is a senior lecturer at Sol Plaatje University in the Department of Social Sciences (Sociology) in South Africa. Simbarashe holds a PhD from the University of Cape Town (UCT). He is interested in questions around youth popular culture, popular music, informality, livelihoods, peacebuilding, displacement, social and political movements, and other forms of youth everyday lives in contexts of protracted socio-economic and political crisis.
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Published:22 May 2024
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Abstract
To combat boredom, political violence, waithood, and the attendant frustrations, many young people in Zimbabwe turn to music. In an authoritarian state that has long closed off the public sphere and other political and discursive spaces to critical voices, young people have carved out alternative publics where they engage with the political and articulate their grievances and frustrations with the state and its excesses. This chapter examines the temporalities of youth group singing and how it is deployed as a peacebuilding tool in urban Zimbabwe. Drawing on ethnographic research with youth popular musicians (Zimdancehall and urban grooves), the author argues that these genres provide young people with a critical discursive space to creatively navigate violence and enact peace. Apart from being a space through which young people politically resist the gerontocratic, corrupt, and marginalizing power system, the author also frames Zimdancehall music as a discursive space where political differences are (re)negotiated through peaceful encounters. Through group singing, young people try to shape and reshape their futures and fill their days with purpose. In fact, to entertain themselves and improve their well-being, youth participate in group singing, and during weekends, community halls become spaces of collective discursive musical expressions. Through group singing, the author asserts, young people constitute themselves as socio-cultural agents, but most importantly also as political actors who creatively speak truth to power, while simultaneously bridging political polarization and enacting community cohesion.
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