Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre

Peace Mukwara; Cyrl Mudzinganyama

doi:doi:10.11648/j.ss.20231205.13

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Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre

Peace Mukwara, Cyrl Mudzinganyama

Published in Social Sciences (Volume 12, Issue 5)

Received: 23 April 2023 Accepted: 14 August 2023 Published: 30 October 2023

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Abstract

Street theatre in Zimbabwe has played a pivotal role in giving a critical commentary on the sociopolitical discourse. However the role of this art form has remained under researched. Over the years, the state has deployed confrontational and violent means to thwart any forms of dissent. This has necessitated street theatre practitioners to deploy non-confrontational and creative means to counter state excesses. Deploying James Scott’s theory of public and hidden transcripts, this research unveils some of the creative ways by which artists and practitioners have devised in order to deal with the state. This article analyses how street theatre plays a political watchdog role in Zimbabwe’s multilayered crisis. Whilst the paper argues that street theatre resists domination and the state in subtle ways. The research therefore examines the strategies that street theatre adopted so as to cautiously navigate power through the use of public and hidden transcripts. It also explores street theatre as resistance to other forms of dominance which are not necessarily political. The researcher examines thematic concerns, characterisation, and the use of song, dance and space as elements through which resistance is subtly communicated in street theatre.

Published in	Social Sciences (Volume 12, Issue 5)
DOI	10.11648/j.ss.20231205.13
Page(s)	246-252
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2023. Published by Science Publishing Group

Keywords

Street Theatre, Harare, Resistance, Covert, Hidden Transcripts

References

[1]	Aphiri, 2014. Street Performances [Interview] (Actor), 14 June 2014.
[2]	Chikonzo, K., 2010. The Construction of Subaltern Consciousness in Zimbabwe's Protest Theatre: The Case of Heaven's Diary. Latin America Report. Pretoria: UNISA Press, 1 (2), pp. 118-124.
[3]	Chikonzo, K., 2015. Identity and Democracy in Pro-democracy Protest Theatre in Zimbabwe: 1999-2012. D. Phil Thesis University of Zimbabwe: Unpublished.
[4]	Chivandikwa, N., 2012. Theatre as/and Insurrection in Zimbabwean Theatre. Studies in Theatre and Performance, 32 (1), pp. 29-45.
[5]	Chivandikwa, N., 2010. Ndenglishing and Shongilishing the Stage: Reinterprenting and Recontextualising Monologuism, Bilingualism and Multilingualism in Zimbabwean Theatre. In: Monaka, K. E. A., ed. Mapping Africa in the English Speaking World: Issues in Language and Literature. London: Cambridge Scholars Publishers, pp. 105-16.
[6]	Chiwanza, 2003. Street Theatre in Post Independent Zimbabwe: The Case of True Vision African Theatre. Harare: University of Zimbabwe. Unpublished Dissertation.
[7]	Mangosho, T. (et al)., 2015. Contemporary Theatre Spaces: Politico-ideological Constructions in Zimbabwe: A Dialectical Approach. Studies in Theatre and Performance, DOI: 10.1080/14682761.2015.1070638.
[8]	Mhako, D., 2014. Identies of Women in Protest Theatre. Harare: Unpublished M. phil Dissertation, University of Zimbabwe.
[9]	Muwonwa, N., 2011. Representation of Nation in Zimbabwean Televion Drama nd Documentaries. Harare: Unpublished M. phil Dissertation, University of Zimbabwe.
[10]	Ndlovhu-Gatsheni, S., 2009. Re-thinking and Re-imaging Nationalism in Twenty First Century African Ideology, Epistimology and Philosophy. In: W. Burszta, ed. Nationalism Across the Globe. An Overview of Nationalism in State Endowed and Stateless Nations. Poland: Pozna, pp. 53-78.
[11]	Ndlovhu-Gatsheni, S., 2012. Fiftieth Anniversary of Decolonising African Performance: A Moment of Celebration or Critical Reflection? Third Quarterly, 33 (1), pp. 67-83.
[12]	Sambo, K., 2009. Detonating Loaded Minds: The Question of Aesthetics and Pragmatics in Protest Theatre. Paper Presented at the Protest Arts International Festival: Unpublished.
[13]	Schechner, R., 1977. Essays on Performance Theory. New York: Drama Book Specialists.
[14]	Scott, J., 1990. Domination and the Art of Resistance. London: Yale University Press.
[15]	Seda, O, 2005. Bertolt Brecht and Traditional African Storytelling Theatre: A Comperataive Study in Theatre as Pedagogy. Calapoly Journal of Interdisciplinary Studies, Volume 18, pp. 95-99.
[16]	Vambe, M., 2009. The Hidden Dimensions of Operation Murambatsvina in Zimbabwe. Mukai-Vukani Jesuit Journal for Zimbabwe, Harare: Weaver Press, 48 (1), pp 24-26.
[17]	Vambe, M., 2012. Rethinking the Notion of Chimurenga in the context of political change in Zimbabwe. Muziki: Journal of Music Research in Africa, 8 (2), pp. 1-28.
[18]	Zenenga, 2008. Censorship and Surveillance and Political Theatre. Zimbabwe Theatre, 38 (3), pp. 67-83.

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APA Style

Peace Mukwara, Cyrl Mudzinganyama. (2023). Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre. Social Sciences, 12(5), 246-252. https://doi.org/10.11648/j.ss.20231205.13

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ACS Style

Peace Mukwara; Cyrl Mudzinganyama. Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre. Soc. Sci. 2023, 12(5), 246-252. doi: 10.11648/j.ss.20231205.13

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AMA Style

Peace Mukwara, Cyrl Mudzinganyama. Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre. Soc Sci. 2023;12(5):246-252. doi: 10.11648/j.ss.20231205.13

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@article{10.11648/j.ss.20231205.13,
  author = {Peace Mukwara and Cyrl Mudzinganyama},
  title = {Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre},
  journal = {Social Sciences},
  volume = {12},
  number = {5},
  pages = {246-252},
  doi = {10.11648/j.ss.20231205.13},
  url = {https://doi.org/10.11648/j.ss.20231205.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ss.20231205.13},
  abstract = {Street theatre in Zimbabwe has played a pivotal role in giving a critical commentary on the sociopolitical discourse. However the role of this art form has remained under researched. Over the years, the state has deployed confrontational and violent means to thwart any forms of dissent. This has necessitated street theatre practitioners to deploy non-confrontational and creative means to counter state excesses. Deploying James Scott’s theory of public and hidden transcripts, this research unveils some of the creative ways by which artists and practitioners have devised in order to deal with the state. This article analyses how street theatre plays a political watchdog role in Zimbabwe’s multilayered crisis. Whilst the paper argues that street theatre resists domination and the state in subtle ways. The research therefore examines the strategies that street theatre adopted so as to cautiously navigate power through the use of public and hidden transcripts. It also explores street theatre as resistance to other forms of dominance which are not necessarily political. The researcher examines thematic concerns, characterisation, and the use of song, dance and space as elements through which resistance is subtly communicated in street theatre.
},
 year = {2023}
}

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TY  - JOUR
T1  - Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre
AU  - Peace Mukwara
AU  - Cyrl Mudzinganyama
Y1  - 2023/10/30
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PB  - Science Publishing Group
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AB  - Street theatre in Zimbabwe has played a pivotal role in giving a critical commentary on the sociopolitical discourse. However the role of this art form has remained under researched. Over the years, the state has deployed confrontational and violent means to thwart any forms of dissent. This has necessitated street theatre practitioners to deploy non-confrontational and creative means to counter state excesses. Deploying James Scott’s theory of public and hidden transcripts, this research unveils some of the creative ways by which artists and practitioners have devised in order to deal with the state. This article analyses how street theatre plays a political watchdog role in Zimbabwe’s multilayered crisis. Whilst the paper argues that street theatre resists domination and the state in subtle ways. The research therefore examines the strategies that street theatre adopted so as to cautiously navigate power through the use of public and hidden transcripts. It also explores street theatre as resistance to other forms of dominance which are not necessarily political. The researcher examines thematic concerns, characterisation, and the use of song, dance and space as elements through which resistance is subtly communicated in street theatre.

VL  - 12
IS  - 5
ER  -

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Author Information

Peace Mukwara

Department of Media, Communication, Film and Theatre, Midlands State University, Gweru, Zimbabwe
Cyrl Mudzinganyama

Department of Creative Media and Communication, Faculty of Arts and Humanities University of Zimbabwe, Harare, Zimbabwe

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Plain Text BibTeX RIS

APA Style

Peace Mukwara, Cyrl Mudzinganyama. (2023). Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre. Social Sciences, 12(5), 246-252. https://doi.org/10.11648/j.ss.20231205.13

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ACS Style

Peace Mukwara; Cyrl Mudzinganyama. Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre. Soc. Sci. 2023, 12(5), 246-252. doi: 10.11648/j.ss.20231205.13

Copy | Download

AMA Style

Peace Mukwara, Cyrl Mudzinganyama. Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre. Soc Sci. 2023;12(5):246-252. doi: 10.11648/j.ss.20231205.13

Copy | Download

@article{10.11648/j.ss.20231205.13,
  author = {Peace Mukwara and Cyrl Mudzinganyama},
  title = {Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre},
  journal = {Social Sciences},
  volume = {12},
  number = {5},
  pages = {246-252},
  doi = {10.11648/j.ss.20231205.13},
  url = {https://doi.org/10.11648/j.ss.20231205.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ss.20231205.13},
  abstract = {Street theatre in Zimbabwe has played a pivotal role in giving a critical commentary on the sociopolitical discourse. However the role of this art form has remained under researched. Over the years, the state has deployed confrontational and violent means to thwart any forms of dissent. This has necessitated street theatre practitioners to deploy non-confrontational and creative means to counter state excesses. Deploying James Scott’s theory of public and hidden transcripts, this research unveils some of the creative ways by which artists and practitioners have devised in order to deal with the state. This article analyses how street theatre plays a political watchdog role in Zimbabwe’s multilayered crisis. Whilst the paper argues that street theatre resists domination and the state in subtle ways. The research therefore examines the strategies that street theatre adopted so as to cautiously navigate power through the use of public and hidden transcripts. It also explores street theatre as resistance to other forms of dominance which are not necessarily political. The researcher examines thematic concerns, characterisation, and the use of song, dance and space as elements through which resistance is subtly communicated in street theatre.
},
 year = {2023}
}

Copy | Download

TY  - JOUR
T1  - Navigating a Censorious and Authoritarian Socio-Political Environment in Zimbabwe Through Street Theatre
AU  - Peace Mukwara
AU  - Cyrl Mudzinganyama
Y1  - 2023/10/30
PY  - 2023
N1  - https://doi.org/10.11648/j.ss.20231205.13
DO  - 10.11648/j.ss.20231205.13
T2  - Social Sciences
JF  - Social Sciences
JO  - Social Sciences
SP  - 246
EP  - 252
PB  - Science Publishing Group
SN  - 2326-988X
UR  - https://doi.org/10.11648/j.ss.20231205.13
AB  - Street theatre in Zimbabwe has played a pivotal role in giving a critical commentary on the sociopolitical discourse. However the role of this art form has remained under researched. Over the years, the state has deployed confrontational and violent means to thwart any forms of dissent. This has necessitated street theatre practitioners to deploy non-confrontational and creative means to counter state excesses. Deploying James Scott’s theory of public and hidden transcripts, this research unveils some of the creative ways by which artists and practitioners have devised in order to deal with the state. This article analyses how street theatre plays a political watchdog role in Zimbabwe’s multilayered crisis. Whilst the paper argues that street theatre resists domination and the state in subtle ways. The research therefore examines the strategies that street theatre adopted so as to cautiously navigate power through the use of public and hidden transcripts. It also explores street theatre as resistance to other forms of dominance which are not necessarily political. The researcher examines thematic concerns, characterisation, and the use of song, dance and space as elements through which resistance is subtly communicated in street theatre.

VL  - 12
IS  - 5
ER  -

Copy | Download