This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.

A content analysis of Leonard Karikoga Zhakata’s sungura music unpacks shared experiences of Zimbabweans during a decade of crises.Various musicians composed music pregnant with cultural meaning. These genres defied the ruling Zanu PF party‘s propaganda. The ZANU P.F. flagged enemy was imperialist history, whose characteristic was bankrupt in civil justice. Common sense ‘umunthu’ (‘Humaness)’ philosophy could have witnessed the ruling party stand by the people at the height of economic decline. This dissertation argued that the sungura genre became a formidable force. The music had dramatic effect of unifying citizens of different distinct cultural traditions, often which set Shona, Manyika, Korekore, Changana and Ndebele apart. ‘Mugove’ ‘(Reward) and ‘Hupenyu mutoro’ (Life is a burden) lyrics manifested thought processes, ideas and actions which projected popular unity against ruling elite hegemony. Zimbabweans’ collective cultural awareness that could have defined social experiences indirectly or directly motivated formations of oppositional political establishments. The Movement for Democratic Change (MDC) was the brainchild of political disillusionment chorused in “Hupenyu Mutoro’ (Life is a burden) and ‘Mugove’ (Reward) lyrics. The musical texts unravelled the hidden sin of gross graft by the powerful built on self aggrandisement at the expense of the vulnerable subalterns. The sungura genre manifested an art of aggressive entertainment and enjoyment yet passively and remotely awakening citizens to the obtaining dire economic hardships. The genre’s scholarly fabric and dynamics, cut deep into life sensibilities as exemplified by ‘Hupenyu Mutoro’. The deplorable life style experienced by the suffering majority epitomised by political repression and economic meltdown became catalyst for political participation and opportunities for plural voices.This dissertation argues that academic curricula harnesses the influential sungura genre in teaching a people’s story. Sungura music authenticates national historical versions that comfortably orbits around official realities of civil governance processes, what Fanon refers to as ‘a zone of occult instability (Fanon, 1963 p. 253). Unemployment, hyper-inflation, cholera out breaks, empty shelves in shops compounded with a ravaging parallel market prices became food for thought. Disllusionment nagged Zimbabweans below and above the poverty datum peg vis a viz the material power index of a handful citizens in the ruling party. Hence Zhakata’s ‘Hupenyu mutoro’ (Life is a burden) and ‘Mugove’ (Reward) became a classical and contested terrain that motivated the teaching and learning of Zimbabwean history. / Communication / M.A. (Communication)