Академический Документы
Профессиональный Документы
Культура Документы
514-511
comments upon the role of the mass media in the inculcation and dissemination of
nationalist ideology. He revisits how the colonial state created a national audience and
expands upon bow the nationalist leaders as a result became keenly aware of the
importance of music and the mass media as a vehicle for genemting a sense of a
national culture. He revisits how this was achieved through emotional bonding induced
through music and discourse which relied on and fomented the concept ofan indigenous
cultural renaissance.
Introducing the type of data we very much need in Zimbabwean history and
anthropology, be considers, for example, the case ofone reformist-inspired group, the
Hurricanes, and bow they created a syncretic amalgam of traditional music with jazz,
the twist, Rhumba, chacbacba, and rock and roll. At the time, this was touted as the
new dance music of Zimbabwe and in fact it marked tbe start of the local
experimentation with electric guitars.. In developing his argument here, Thrino relies
heavily on the popular magazine Parade (then African Parade) so as to reconstruct
the development of musical styles from that period. As this chapter demonstrates,
close attention to the consumption of the mass media is absolutely vital for any
understanding of the historical and anthropological study of both 'modem' and
'traditional' African music and culture.
In Chapter 6, 'Musical Nationalism and Chimurenga Songs ofthe 1970s', Thrino
focuses on the emergence of the songs of the anned struggle for independence and
introduces further data about the awareness of the role of the mass media in creating
an imagined trans-local national community. For example, in the section titled' Music
and the Politicization of the Masses,' he dmws briefly on Julie Frederickse's unique
study, None But Our.elves: MI1!I'es verow the Media in the Making a/Zimbabwe, to
comment upon the imPortance of the radio in the anned struggle during which two
mdio stations, The Voice of Zimbabwe and the Zimbabwe People's Voice, associated
with the two separate wings of the liberation movement, ZAPU and ZANU. The
programme guides provided in Frederickse allow Turino to demonstrate the increasing
popularity of the Chimurenga revolutionary songs. As Frederickse recorded, one
Rhodesian soldierbad discovered the importance ofthis during reconnaissance missions
in which he came actOss people singing along with the radio in the bush. The e><perience
provoked him to reflect upon how this sense of rousing camaraderie was entirely
different and far more successful than the government's attempts to boost anny morale
through the Armed Forces Request's programme.
The result ofpulling all this historical data together is to provide substantial grist
for the anthropological mill. For example, Turino uses this data to show how the
participatory ethic was not limited to mere reception, but to the production of
Chimurenga music as well. Moreover, he proposes that this communal participatory
'ethic-aesthetic' was the guiding and dominant force in the adoption ofcosmopolitan
elements and technologies. He concludes that this in itself constitutes a unique case of
518 Juumal ofCulhlraJ S",dles
with European and middle class culture such as was the case with ball room dancing. By
1959 fur example, rock 'n' roll was being imitat<:djUSlas Jazz and countJymusic had been
previously, though Turina pOints out thai there was an important difference.
In the case ofrock 'n'rou, the music was associated with the spreadafcosmopolitan
youth culture and the author iuake$ the definitive claim that this represents the ftrst
time thai a concept ofteep ~ yo~ib culture had emerged in Zimbabwe. Here a musical
style is depicted as an identity marl<er, He adds to this by proposing that it was only
during the early 19605 that the problems concerning teenage morality became an
issue in the media. llubsequently with the I()QI\ incorporation/adoption of North
American rock, lhe Beatles and S011! music, the idea of youth as baving a distinct
culture, a decidedly non or even antHra4itipnaI cullIIraI fol1l18lion became a well
established reality. .. ..
T'!rino goes on to show bow by Ibe mid·1960s, ~rlbe establisbment of local
recording companies, an important transition occurred from the imitatinn of fC!reign
musical styles to a stress on originality. He argues that this in itself was part and
parcel of a trans-national cosmopolitan youth culture. Here, Zimbabwean musicians
came to self-eousciously render indigenous songs through guitar bands to such a degree
that the tenn 'traditional adaptation' was created. In one fascinating example, be
considers bow in the case of the Harare Mambos, the adaptation of popular foreign
musical styles was so sUlXessfui that unless one knew the original traditional version
one would not be able to recognize it as a modem rendition of an indigenous song.
Taking this case even further, Turino describes bow the use of indigenous v()Ql\
styles in these apparently 'modernist' songs signified a substantial tnmsfonnation of
cosmopolitan aesthetics. Nevertheless, as be notes, wbile maintaining his coustant
portrayal oflbe complexity ofthe music scene, musicians simultaneously continued to
play rumba, jive and rock in imitative llI8IlIIeB in which faithfulness to the original
was the most important criterion. Once again, it is this balance and complexity whicb
makes this study an original and vital contribution to the limited literature available
for the Zimbabwean case.
In Chapter 8, 'Stars ofthe Seventies: The Rise ofIndigenous-Based Guitar Bands,'
1\uino shows how differentlbe 1980s were fur guitar bands. In this same period, classical
mbira pieces and village Jit rose to the fore as a type of complex refurmist musical
nationalism in whicb the artists sought out the largest possible audience, an audience
whose very dispositions led the artists to increase their incorporation of indigenous
elements. For example, he describes bow, in 1971. Thomas Mapftuno aspired to be a
saxophonist like Stan Gerz because he believed that the popularity ofjazz would outlast
pop music.
Yet shortlythereafter, Mapftuno, in part responding to nationalist inspired criticism
thai artists should move away from playing fureign music, began to compose more
original tunes. This in itselfalso constituted along tenD result afth. 1960s cosmopolitan
t~o Joi'u-nalo!Cultura./ Studies
youth culture ethos. Though the early results were tenned Afro-rock and failed to
engage an audience, when Mapfumo turned to playing traditional mbira tunes on the
guitar and singing in Shona, there was an inunediate response. His subsequent reaction
to this coostituled a milestone in the development of musical nationalism. As a
consequence of this relation between audience response and innovation, Mapfumo is
considered a paradigmatic case in that he first approached 1l1Iditionai music as a cultural
outsider, having first heard mbi'a music on the radio and not in traditional ritual
contexts.
In subsequent chapters, Turino goes on to show how the famous case of Thomas
Mapfumo's transformation of indigenous music was in large part directly influenced
by his cosmopolitan experiences. His main point in furthering this evolving debate
over cultural lllInsfonnation is that change is not ethically neutral. He proposes that
the way in which it can foster the breakdown of indigenous ethics and aesthetics is
profoundly disturbing. Here he argues that the re-luning.of the mbi'a to the Western
scale is exemplary ofthis loss. In this reading, there is a Boasian quality to his argument
in which traditions of the past are seen as fast fading in the face of globalization,
though his data sometimes point to the opposite, an example being the apparent rising
interest in the mbka lIIl1ongot rural youth and the urban poor in the I990s.
Once again, this study is particularly strong in tenos of its balanced historical
approach to previously poorly, ifat aU, documented phenomenon. For example, Turino
reviews a dnunatic turn around in the 1970s, from the concert traditioos imitating
Elvis Presley and the Neville Brothers to indigenous music appealling to a mass local
audience, alongside documenting the eontinued popularity of trans-national popular
music. Here Turino notes that Mapfumo first carne to focus on indigenous Shona
music because of the responsiveness of his audiences as well as the success of such
adaptations on the hit parade. Moreover, he argues that this tum was influenced by the
popular sympathy with ZANU's nationalist discourse, reflected in Mapfumo's
recollections that he had realized that Zimbabweans were lost and had to return to
their own musical fonos, albeit adapted for the electric guitar.
In this and subsequent chapters, Turino's detailed consideration of the
particularities and evolution ofMapfumo's music and his methods ofcomposition (as
well ... for other local stars including Xexie MllIUlISa and Oliver Mutukudzi), especially
the quest for originality and the complex re-ordering of indigenous material, make for
fascinating reading.
The study is significant for the manner in which Turino separates musical style
and song content in analyzing musical nationalism. He concludes with marked honesty
that most of the musicians he interviewed did not equate musical style and political
nationalism as typically is the case in the Western reception and marketing of their
music. Nevertheless, as he shows about Thomas Mapfumo and World Beat, these
elements became increasingly important in establishing the artist's heroic status. The
Popular MfUic in Zimbabwe S21
one notable and arguable flaw in the study in this particular regard is his deliberately
uncritical view of MapfUmo, There is for example no mention of the ways in which
the music and lyrics attributed solely to MapfUmo are to an undetermined extent the
contribution of his band members as well as borrowings from other musicians. Thus
alongside critical commentaIy on the suppression of emulators and the economic
inequities in earnings received and the excessive perfonnance demands upon the band
members and dancers, there is a substantial lack. of ethoographic detail in MapfUmo's
case and indeed throughout the book.. This is panicularly disappointing colllideting
the author's sustained engagement with the Mw-ehwa Jerusarema Club and Burial
Society in Mbare.
In Chapter 9, 'Nationalism, Cosmopolitanism, and Popular Music after 1980',
Twino describes how Mapfumo and other anists, supported by the state, crafted and
mark.ete<l their nationalist revolutionary seatiments to an increasingly broader mass
local mark.et at the same time as to a global cosmopolitan audience. He sustailll his
central and critical argument that pnlitical agendas, professionalism and mme! forces
resulted in the reformation of indigenous participatory ways of life in terms of
cosmopolitan-capitalist ethics. In doing so, he provides the reader with an unusually
critical review of the middle class and elite segments of Zimbabwean society and
argues that a k.ey problem in this reformation is the notion that state officials are
insiders in their own culture. Rather, he argues they should be understood in terms of
being cosmopolitans raised with middle-<:lass values and aspiratiOll$, and divorced
from their own cultural background. This is a fundamentally important criticism of
class and culture without which the history of Zimbabwean music and art, especially
viz-a-viz the state, would not make much sense.
Tutino's critique is particularly trenchant as regards the national dance company
and what he tenns the twin paradoxes of nationalism - a dependence on cosmopolitan
notions of the state which simultaneously constitutes a threat to local distinctiveness.
In developing this critique through local perceptiolll of the inadequacy of the national
dance companies' performances, he proposes that the twin paradox is balanced, if
unsuccessfully for localS and yet more effectively for cosmopolitans, through reformist
re-contextualization. The rest of Chapter 9, the last cbapter, covers the world beat
phenomenon through focusing again on Mapfumo music, nationalist politics and libetal
sentiment among the white Western consumers of Mapfumo's music.
All in all, above and beyond the lionization ofThomas Mapfumo which dominates
the last chapters, this study will be ofgreat value to anyone interested in contemporary
Aftican music and world heat. It will also be important reading for those interested in
nationalism and how the nationalist project has influenced musical refmmations. In
addition, it will be of interest to scholars look.ing more broadly at the trans-national
ans, globalism and changing local traditions, at Carmen Miranda, Jimie Rodgers and
Elvis Presley at 'home' in Amca. As Tutino states,
S22 Journal ofCui/ural SludreJ
Ideological worle aside, hopefully, as I see it, Ibis study will have three long term
influences on future research in Zimbabwe in tenDS of the re-conceptualization of
these categories. Fin;t, it will stimulate future ethnomusicologists, historians and
anthropologists 10 use the recordings housed in the Zimbabwean national archives.
Second, it will stimulate scholar.i to attend to popular culture and Ibe mass media fJIr
more systematically than has been Ibe case up till now. Third, and moSt important, it
will stimulate future research to look beyond Ibe mbil'a. Just over Ibe horiulD now,
studies of African country music and ball room dancing, blues and jazz, rep, hip hop,
and much more await us. All such studies in Zimbabwe, bopefully in the densest
ethnographic technicolor and sound around, will have 10 rely on this book as Ibeir
primary source of reference.