Download Zimdancehall Songs

In Zimbabwe, popular music, particularly the Zimdancehall music genre, has become a cultural site where Shona moral values clash with explicit sexual lyrical content despite a censorship regime in the country. This article examines the nature and cultural consequences of the moral decadence that emerges in popular Zimdancehall song lyrics by several musicians. The article illustrates how vulgar language popularises Zimdancehall songs in unheralded ways that foster identities laced with cultural ambivalences that may portray the artists as both famous and depraved. This qualitative study does textual and content analysis of 11 purposively sampled songs with sex terms to elucidate the cultural inconsistencies in Zimdancehall song narratives. Analysis is informed by the Neuro-Psycho-Social theory, which recognises how socio-cultural restrictions are challenged by an emerging ghetto culture like new wine in old bottles. Alternative unsanctioned new popular music genres can be used to permeate the sociocultural system.

Now a list of this nature was impossible if we had to include multiple songs from artists, the list would run past 500 easily (Soul Jah Love and Winky D alone could have nearly 100 combined easily). Such has been the prolific nature of Zimdancehall.

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While it is true that the best is yet to come, fans have been treated to different talents and along the way and some hits have been made. A number of artistes stormed the charts with the songs and they made an impact on the music scene.

Harare's oldest township, Mbare has long been the hub of a vibrant popular music and dance scene. Since the mid-2000s, Harare has seen the growth of Zimdancehall, a distinctive local style of music, with roots in Jamaican reggae and dancehall, and lyrics in Shona and English. Zimdancehall producers and artists largely originate from Mbare and the poorer suburbs of Harare. Some argue that Zimdancehall provides a voice to those that endure poverty and isolation from the mainstream; while critics associate Zimdancehall with drugs and violence. Previous forms of popular music, such as chimurenga and 'urban grooves' came to enjoy a close relationship with the state (Willems, 2015). Zimdancehall has also become popular among Zimbabwean political elites. Major artists have performed at state-sponsored events, such as Grace Mugabe's birthday party in Borrowdale in July 2015. This paper situates Zimdancehall within a longer history of music and nationalist politics in Zimbabwe. Based on empirical research in Harare in 2015, and analysis of songs, newspaper reports, and oral testimony, this paper asks to what extent Zimdancehall represents a form of co-optation or resistance. Can we consider Zimdancehall as a vehicle for youth engagement in urban politics? And what does this popular musical genre tell us about political subjectivities among youth in urban Zimbabwe? e24fc04721