Self-glorification in Zimdancehall and Sungura Music

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

2.7. Conclusion

CHAPTER THREE METAPHORS, IMAGERY AND NICKNMAES INZIMDANCEHALL

3.1. Introduction

3.2. Metaphors and Imagery

3.2.1. Metaphors and Imagery in Winky D’s music

3.2.2. Metaphors and imagery in Tocky Vibes’music

3.2.3. Metaphor and imagery in Shinsman’s music

3.2.4. Lady Squanda and her agenda for self-glorification

3.2.5. Magical and his agenda to demean other artists.

3.2.6. Seh Calaz and the struggle for space, voice and authority

3.2.7. Sniper and his agenda to demean the Sungura genre

3.3. Nommoic creativity in Zimdancehall

3.3.1. Chibaba

3.3.2. Chimhamha

3.3.3. Doctor Wemagitare

3.3.4. Shumba Yemagitare.

3.3.5.Musoja

3.4. Conclusion.

CHAPTER FOUR - Metaphors, Imagery and Nicknaming in Sungura music

4.1.Introduction.

4.2. Imagery and Metaphors

4.2.1. Tongai and his agenda to demean other artists

4.2.2. Alick Macheso and self-glorification

4.2.3. Allan Chimbetu and the fight for recognition

4.2.4. Moto Muzhinji

4.2.5. Chopper

4.2.6. Senior Lecturer

4.2.7. Sugar Sugar

4.2.8. Mukoma

4.2.9. Dotcom

4.2.10. Captain

4.3. Conclusion

CHAPTER FIVE - CONCLUSION

Research Objectives and Themes

This dissertation explores the practice of self-glorification in Zimbabwean Zimdancehall and Sungura music. It examines how artists use nicknames, metaphors, and imagery as tools to assert their individuality, claim authority, and compete for recognition within a highly saturated and challenging music industry.

• The role of Afrocentric theory and the concept of Nommo in musical self-naming.
• Historical roots of boasting in traditional Shona culture (e.g., in war, courtship, and labor).
• Strategies used by Zimdancehall artists to construct power and dominance through lyrical performance.
• How Sungura musicians employ totemism and traditional status symbols to maintain artistic prominence.

Excerpt from the Book

Summary of Chapters

CHAPTER ONE - INTRODUCTION: This chapter provides the research area, objectives, and the theoretical framework based on Afrocentric perspectives to ground the study of musical boasts.

CHAPTER TWO BOASTS AND AFROTRIUMPHALISM IN TRADITIONAL SHONA SOCIETY: This chapter contextualizes the history of boasting within traditional Shona practices, such as labor-intensive activities and war, demonstrating that self-glorification is not a modern phenomenon.

CHAPTER THREE METAPHORS, IMAGERY AND NICKNMAES INZIMDANCEHALL: This chapter analyzes how Zimdancehall artists use specific poetic devices and stage names to navigate competition and assert dominance in the music industry.

CHAPTER FOUR - Metaphors, Imagery and Nicknaming in Sungura music: This chapter examines the usage of totems and metaphors by established Sungura artists to maintain their status and defend their genre against competition.

CHAPTER FIVE - CONCLUSION: This chapter synthesizes the findings, confirming that boasting is a survival and marketing strategy used by artists in both genres to gain power and recognition.

Keywords

Zimdancehall, Sungura, self-glorification, boasts, metaphors, nicknames, Afrocentricity, Nommo, identity, Shona culture, music industry, individuality, competition, imagery, Zimbabwe.

Frequently Asked Questions

What is the core focus of this dissertation?

The research investigates the manifestation of self-glorification through lyrics in Zimbabwean Zimdancehall and Sungura music, examining how artists use boasting to claim space and recognition.

What are the primary thematic fields covered?

The study covers the use of metaphors, nicknames, and traditional imagery, as well as the historical and cultural significance of boasting within Shona traditions.

What is the main research question or goal?

The primary goal is to interrogate the forces behind artists' involvement in self-glorification and to understand how these acts function as strategic tools in a competitive music industry.

Which scientific methodology is employed?

The researcher uses a qualitative methodology, incorporating interpretive and naturalistic approaches, including discourse analysis of song lyrics and data gathered from interviews and questionnaires.

What topics are discussed in the main body?

The main body includes a historical look at boasting in Shona society, followed by detailed case studies of prominent Zimdancehall and Sungura artists, analyzing how they deploy linguistic strategies to build their personas.

How are the key terms defined for this study?

Keywords like 'boasts' are defined as talk with excessive pride, while the concept of 'Nommo' is used to describe the power of words to create reality and harmony.

How does Winky D use metaphors in his work?

Winky D uses cosmic and futuristic metaphors, such as being 'extra-terrestrial', to position himself as a superior artist who is beyond the reach of his detractors.

Why do Sungura artists use totems in their songs?

Sungura artists utilize totems to connect themselves to historical and spiritual power, using ancestral symbolism to assert their status and legitimacy as cultural icons.