Subversive Verses: How Ndebele Musicians Counter-Framed the State Propaganda on The Gukurahundi Genocide
Abstract
This article argues that while the state succeeded in framing Gukurahundi as suppression of armed rebellion with the help of some artists, Ndebele musicians also successfully counter-framed the carnage as genocide using subversive metaphors and analogies. It demonstrates that Ndebele musicians were among the earliest public sponsors of the genocide frame. In framing theory, metaphor is one of the key framing devices; as such, this article is a casebased comparative examination of metaphorical framing and counter framing of selected songs. It uses songs by Lovemore Majayivana (Inhlanzi Yesiziba and U Tshaka) and Ebony Sheik (Isavungu zane) but also touches on the broader context and deeper insights provided by other artists such as Thomas Mapfumo and Patrick Mukwamba.
Opsomming
In hierdie artikel word aangevoer dat hoewel die staat, met die hulp van kunstenaars, daarin geslaag het om die Gukurahundi te kontekstualiseer as onderdrukking van gewapende rebellie, Ndebele musikante die slagting ook suksesvol as volksmoord geteenkontekstualiseer het – deur die gebruik van ondermynende metafore en analogiee. Dit demonstreer dat Ndebele musikante van die eerste openbare ondersteuners van die volksmoord konteks was. In kontekstualiseringsteorie is die metafoor een van die belangrikste kontekstualiseringsmiddele; as sodanig is hierdie artikel 'n gevalgebaseerde, vergelykende bestudering van metaforiese kontekstualisering en teenkontekstualisering van uitgekose liedjies. Liedjies deur Lovemore Majayivana (Inhlanzi Yesiziba en U Tshaka) en Ebony Sheik (Isavunguzani) word gebruik. Die breer konteks en dieper insigte wat deur ander kunstenaars soos Thomas Mapfumo en Patrick Mukwamba geskep word, word egter ook bestudeer.
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