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African Music, Power, and Being in Colonial Zimbabwe (African Expressive Cultures), by Mhoze Chikowero
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In this new history of music in Zimbabwe, Mhoze Chikowero deftly uses African sources to interrogate the copious colonial archive, reading it as a confessional voice along and against the grain to write a complex history of music, colonialism, and African self-liberation. Chikowero's book begins in the 1890s with missionary crusades against African performative cultures and African students being inducted into mission bands, which contextualize the music of segregated urban and mining company dance halls in the 1930s, and he builds genealogies of the Chimurenga music later popularized by guerrilla artists like Dorothy Masuku, Zexie Manatsa, Thomas Mapfumo, and others in the 1970s. Chikowero shows how Africans deployed their music and indigenous knowledge systems to fight for their freedom from British colonial domination and to assert their cultural sovereignty.
- Sales Rank: #5955745 in Books
- Published on: 2015-11-24
- Original language: English
- Number of items: 1
- Dimensions: 9.20" h x 1.20" w x 6.20" l, 1.40 pounds
- Binding: Hardcover
- 364 pages
Review
"Whereas previous generations of scholars have argued how Africans adapted and revived musical traditions to resist colonialism in Zimbabwe, Mhoze Chiowero takes a longer view to demonstrate just how complicated and varying music history across Africa is during this era." ―Tyler Fleming, University of Louisville
"Reveals the power of colonialism to infiltrate African culture and manifests how Africans were socially engineered to be complicit in the colonial project." ―Maurice Taonezvi Vambe, University of South Africa
"A worthy contribution to African history, ethnomusicology, music, and dance married together with the powerful institutions of African colonialism and missionary work." ―Tendai Muparutsa, Williams College
About the Author
Mhoze Chikowero is Associate Professor of African History at the University of California, Santa Barbara.
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as anyone may satisfy himself if he sends a raw native to dig ...
By Amazon Customer
Our Western education system has worked diligently to scrub our minds clean of the historic violence and destruction that Europeans have propagated throughout the centuries. And although this reality permeates every aspect of world history, nowhere is this more prominent than in the fabrication of European narratives in telling the histories of Africa. This miseducation has deep roots, as seen in early narratives, such as Missionary Heroes in Africa (1922), in which it is stated, “but for the education received here and the previous labours of the missionaries [Africans] would not be able to distinguish the top of a printed page from the bottom, unable to use a single tool, unable even to use that complicated instrument called a spade, as anyone may satisfy himself if he sends a raw native to dig in his garden. They have been dragged out of the abyss of ignorance and entire want of manual skill by the opportunities they have had in this place.” Here, we learn that the missionaries were Europe’s gift to a backwards Africa.
Such narratives continue to this day in a wide range of mediums, take for example, pop culture films like The Mission (1982), in which the heroic missionaries (Jeremy Irons and Robert De Niro) in South America risk their lives to save their beloved Christianized “natives” from the evils of the Portuguese colonial government. And it is imbedded in academia in works like Thomas Turino’s Nationalists, Cosmopolitans, and Popular Music in Zimbabwe (a book which Chikowero takes to task in his introduction). As Chikowero suggests, Turino’s argument that “missionaries loved traditional music and dance” and the inference that missionaries were really good people with good intentions, is an indication that Turino did not engage in any real way with clear evidence which shows the contrary. In fact, few works on African mission systems reach the level that Mhoze Chikowero has accomplished in his book, African Music, Power, and Being in Colonial Zimbabwe (University of Indiana Press 2015).
The first three chapters of the book show how missionaries consciously and systematically worked to destroy every aspect of life and culture in not just Southern Rhodesia (present day Zimbabwe), but throughout Southern Africa (one wonders how academics like Turino could have missed it). Chikowero’s argument at this point is based almost entirely on words of the missionaries themselves from the mission archives. One example states: “on numerous occasions, the Empandeni Mission raiding force broke up proceedings at ceremonies, pursuing the participants with dogs and whipping masvikiro (mediums), healers and dancers with sjamboks, hippo-hide whips.” These chapters also show the psychological violence used to control Africans, such as when missionaries deliberately took children from their families and forced a Christian education on them, and upon release, the children could no longer connect with their own families or understand their culture. Often these children would turn their own family members in for “heathen” acts which contradicted colonial laws.
In Chikowero’s analysis, musical instruments, such as the mbira, which was an instrument used to communicate with the ancestors, were destroyed or banned by Christian missionaries, who deemed the instrument to be an extension of evil. In replacement, missionaries made African children play European band instruments and forced them to march and sing Christian songs.
Yet, Africans, in all their resiliency and cleverness, resisted and repurposed colonial attempts to destroy them. Instead of succumbing, they reclaimed the mbira by the 1960s and used it in place of guns to fight the revolution against colonial rule. Chikowero interviews dozens of guerilla musicians and provides first-hand accounts of participants in the anticolonial resistance movements.
Furthermore, Chikowero shows how new generations of Africans used music to reclaim their cultural past and recreate their present: “A self-expressive organic ghetto register, the skokiaan symbolique furnished the dislocated and marginalized African underclasses, with a common grammar by which they could fashion a sense of community, common belonging, social intercourse, survival strategies, and self-crafted identities in the otherwise alienating environment.”
The primary mode of analysis through which Chikowero interprets African resistance and repurposing of colonial methods of destruction is through music, though one could really apply his argument to any aspect of African culture; including traditional food, dress, and spirituality. Similarly, though Chikowero’s geographical focus is southern Africa, his findings bear a strong resemblance to what missionaries did to North and South American Indians and so his work is incredibly useful for transnational comparison.
The title of the book gives the impression that the book is narrow in scope, on the contrary, the book is broad in its use and interpretations. African Music, Power, and Being expands well beyond the borders of colonially drawn Zimbabwe to include much of Southern Africa's Madzimbabwe cultures. Though it may seem so based on the title, one does not need to have any knowledge of musicology to get sucked into his inescapable narrative.
Titles aside, beyond the significance of the work itself, African Music, Power, and Being is beautifully written and its profound depth of intellectual analysis is matched only by the fluid and poetic writing style of the author: “Throughout the near century of colonial overlordship, Africans wielded song to articulate their cultures, their overwhelming sense of loss and unhappiness, and their defiant celebration of life, hope, resistance, and self-liberation.”
In short…. a good book makes you question everything you thought you knew… this is one of those.
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