viriri2014
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Viriri, Agnella: |
CONTENTS
Declaration ii
Abstract iii
Dedication iv
Acknowledgements v
Table of Contents vi
List of Figures viii
Chapter One
Introduction
1.0 Background and Personal Motivation 1
1.1 Central aims 4
1.2 Research questions 5
1.3 Rationale of the study 6
1.4 Research methodology 8
1.5 Ethical considerations 14
1.6 Arrangement of chapters 15
Chapter Two
Literature Review and Theoretical Framework
2.0 Introduction 16
2.1 History of Zimbabwean Music 16
2.2 Theoretical framework 25
2.2.1 Postmodern feminism 25
2.2.2 Postcolonial feminism 26
2.2.3 Africana womanism 28
2.3 Gender studies in popular music 31
2.4 Conclusion 35
Chapter Three
Edith the Bassist: Challenging the Prescribed Feminine Roles through the Instrument
3.0 Introduction 38
3.1 Early childhood experiences: access to formal and
music education 39
3.2 The years at Amakhosi: Influences and introduction
to the bass guitar 41
3.3 Interruption of femininity through the instrument 43
3.4 So What! and the move to Harare 45
3.5 The birth of Weutonga (The New Dawn) 46
3.6 A Social commentator 47
3.7 Genre and performance style 51
3.8 Touring and collaborations 54
3.9 Technological advancement: An avenue for
talent exposure 55
3.10 Government policy on women empowerment 57
3.11 Women agency: Nurturing female talent 58
3.12 Management: Formalisation of the career 59
3.13 Conclusion 61
Chapter Four
Sandra Ndebele the Bulawayo dancing queen:
A subversive rebel
4.0 Introduction 64
4.1 Conflict of religion:
Christianity versus African traditional religion 65
4.2 Social responsibility 70
4.3 Fighting within the feminine: A feminism of difference 72
4.3.1 Sandra’s unconventional dance moves 73
4.3.2 Clothes and representations 77
4.3.3 Marital support: Balance between roles 80
4.4 Marketing and publicity 81
4.5 Media canvasing reality 83
4.6 Going global: Touring the world 86
4.7 Conclusion 87
Chapter Five
Organisational agency in the promotion of female musicians
5.0 Introduction 89
5.1 Amakhosi Cultural Centre 89
5.1.1 Origin and history of Amakhosi 90
5.1.2 Amakhosi’s integration policy 93
5.1.3 Women in the arts and Amakhosikazi 94
5.1.4 Promotions and shows at Amakhosi 97
5.2 Pamberi Trust 98
5.2.1 Pamberi Trust Arts Development Projects 100
5.2.2 Female Literary Arts and Music Enterprise (FLAME) 104
5.2.3 Workshop for women artists by women artists 107
5.3 Conclusion 109
Chapter Six
Conclusion
6.0 General conclusion 111
Bibliography 117
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