Performing liberation heritage: Kongonya and toyi-toyi as cultural resistance in colonial and postcolonial Zimbabwe

Yıl 2022, Cilt: 5 Sayı: 2, 329 - 353, 19.12.2022

Perminus Matiure Solomon Gwerevende

Öz

Cultural activities such as dance and music can be used in strategic processes of activism, liberation and social, racial, or ethnic identity formation for marginalised communities. Dance and music practices as liberation heritage are a valuable source of power for socially, politically, and economically marginalised communities. This article presents kongonya and toyi-toyi as movements and sounds of resistance. We also theorised these choreomusical traditions as liberation heritage. These cultural practices narrate through movement and sound, complex notions of identity that contribute to political and socio-economic empowerment and the valuation of liberation heritage. For example, kongonya dance and toyi-toyi dance drills, performed during the Second Chimurenga war of liberation, were invented as resistance symbols by the freedom fighters and native black communities. Both contributed to the attainment of Zimbabwe's independence in 1980. The role of dance and music in the quest for self-determination has not been widely acknowledged. This study argues that dance and music served as a means for moral support (morari) and propaganda during the liberation struggle. We also further suggest that music and dance promoted ideologies of the liberation struggle. Kongonya and toyi-toyi practices accorded the villagers (povho) and freedom fighters (magandanga or vanamukoma) space for physical self-expression and socio-political cohesion. Therefore, this article interrogates the role of kongonya dance and toyi-toyi dance drills in fighting colonialism and its sustainability in postcolonial Zimbabwe.

Anahtar Kelimeler

Chimurenga, dance, music, toyi-toyi, kongonya, pungwe, liberation struggle, liberation heritage

Kaynakça

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