8 - ‘Ndezve Varume Izvi’1: Hegemonic Masculinities and Misogyny in Popular Music in Zimbabwe
Corresponding Author(s) : Sandra Bhatasara
Revue africaine des médias,
Vol. 21 No 1-2 (2013): Revue africaine des médias, Volume 21, n° 1 & 2, 2013
Résumé
La musique populaire s’est avérée être un terrain fertile pour manifester des identifiés masculines, et les chansons une arène toute trouvée pour exprimer ces identités. Le présent article tente d’offrir une analyse de la musique populaire au Zimbabwe montrant comment les masculinités hégémoniques et la misogynie sont célébrées et vénérées. L’étude utilise le discours et l’analyse de contenu portant sur les chansons populaires parues au cours des cinq dernières années pour souligner en quoi la musique est un médium pour normaliser et transmettre les masculinités et les féminités d’une génération à l’autre. Elle met en relief la façon dont la musique populaire recrée et renforce l’infériorité perçue des femmes, et comment les messages présentés dans les chansons reflètent les idées dominantes et hégémoniques concernant la vie sociale et la sexualité. Les jeunes hommes et femmes qui écoutent cette musique grandissent en croyant que ces stéréotypes sexuels sont vrais. L’article conclut qu’en fin de compte, la culture populaire reflète la vie réelle et, de ce fait, la nature masculine de la musique est un moyen par lequel la domination sexuelle des femmes est célébrée et renforcée.
Mots-clés
Télécharger la référence bibliographique
Endnote/Zotero/Mendeley (RIS)BibTeX
- Adeyele-Fayemi, B., 1994, Gender, Sexuality and Popular Culture in Nigeria, Michigan: M Publishing,
- University of Michigan.
- Adorno, T.W., 1941, ‘The Musical Material’, Studies in Philosophy and Social Sciences, IX, pp.
- -48.
- Armstrong, E.G., 1993, ‘The Rhetoric of Violence in Rap and Country Music’,
- Sociological Inquiry, Vol. 63, pp. 64-83.
- Ballantine, C., 2000, ‘Gender, Migrancy and South African Popular Music in the Late 1940s and the
- s’, Ethnomusicology, Vol. 44, No. 3, pp. 376-407.
- Bennett, A., 2005, ‘Editorial: Popular Music and Leisure’, Leisure Studies, Vol.
- , No. 4, pp. 333-342.
- Bhatasara, S., 2010, Land Reform and Diminishing Spaces for Women in Zimbabwe: A Gender Analysis of the Fast Track Land Reform Programme, Berlin: Lambert Publishers.
- Bjorck, C., 2011, ‘Freedom, Constraint or Both? Readings on Popular Music and Gender’, Action, Criticism and Theory for Music Education, Vol. 10, No. 2, pp. 8–21.
- Carrey A., 2011, ‘CaribFunk Technique: Afro-Caribbean Feminism, Caribbean Dance and Popular Culture’, The Journal of Pan African Studies, Vol. 4, No. 6, pp. 126-147.
- Castello, K., 2009, ‘The Same Old Song? Gender, Subjectivity and Popular Music’, Bachata del Angel Caído, Inverno, Vol. 1, No. 1, pp. 1-10.
- Chari, T., 2009, ‘Continuity and Change: Impact of Global Popular Culture on Urban Grooves Music in Zimbabwe’, Muziki: Journal of Music Research in Africa, Vol. 6, No. 2, pp. 170-191.
- Chari, T., 2008, ‘Representation of Women in Male-produced “Urban Grooves” Music in Zimbabwe’, Muziki: Journal of Music Research in Africa, Vol. 5, No. 1, pp. 92-110.
- Chenorff, J.M., 1979, African Rhythm and African Sensibility, Chicago: Chicago University Press.
- Chiweshe, M.K., 2012, ‘More than Body Parts: Theorising Gender within African Spaces’, forthcoming.
- Connell, R.W. 2005, Masculinities, Berkeley: University of California Press.
- Connell, R.W. and Messerschmitt, J.W., 2005, ‘Hegemonic Masculinity: Rethinking the Concept’, Gender and Society, Vol. 19, pp. 829–859.
- Connolly, M. and Krueger, A.B., 2006, Rockonomics: The Economics of Popular Music: Handbook of the Economics of Art and Culture, New York: Elsevier. Costello, K. 2009, ‘The Same Old Song?: Gender, Subjectivity, and Dominican Popular Music’ in Bachata del ángel caído, Invierno, Vol. I, Número 1, pp. 1-10 Cooper, V. W., 1985, ‘Women in Popular Music: A Quantitative Analysis of
- Feminine Images over Time’, Sex Roles, Vol. 13, No. 9/10, pp. 499-506.
- Davies, H., 2001, ‘All Rock and Roll is Homosocial: The Representation of Women in the British Rock Music Press’, Popular Music, Vol. 20, No. 3, pp. 301-319. Frith, S., and McRobbie, A., 1990, ‘Rock and Sexuality’, in S. Frith and Goodwin, A, eds., On Record: Rock, Pop and the Written Word, London: Routledge, pp. 371–389.
- Fuh, D., 2011, Quand la femme se fache’: Popular Music and Constructions of Male Identity in Cameroon, Switzerland: Institute of Social Anthropology/ Centre for African Studies, University of Basel.
- Gilman, L. and Fenn, J., 2006, ‘Dance, Gender, and Popular Music in Malawi: The Case of Rap and Ragga’, Popular Music, Vol. 25, No. 3, pp. 369-381.
- Irigaray, L., 1993, Je tu Nous: Towards a Culture of Difference, translated by A. Martin, New York: Routledge.
- Jørgensen, M. and Phillips, L. 2002, Discourse Analysis as Theory and Method, London: Sage.
- Kassabian, A., 1999, ‘Popular’, in B. Horner and T. Swiss, eds., Key Terms in Popular Music and Culture, pp. 113–123. Massachusetts: Blackwell.
- Lecklider, A., 2004, ‘Between Decadence and Denial: Two Studies in Gay Male Politics and 1980s Pop Music’, Journal of Popular Music Studies, Vol. 16, No. 2, pp. 111-141.
- Lee, S., 2010, Erotic Revolutionaries: Black Women, Sexuality and Popular Culture, Lanham MD: Hamilton Books.
- Lewis, D., 2004, ‘African Gender Research and Postcoloniality: Legacies and Challenges?’ in
- CODESRIA, African Gender Scholarship: Concepts, Methodologies and Paradigms, Dakar: CODESRIA, pp. 27–41.
- Luke, A., 1997, Theory and Practice in Critical Science Discourse’, in L. Saha, ed., International Encyclopaedia of the Sociology of Education, New York: Pergamon, pp. 50-56.
- Lwanda, J., 2003, ‘Mother’s Songs: Male Appropriation of Women’s Music in Malawi and Southern
- Africa’, Journal of African Cultural Studies: Special Issue Focusing on the Media in and about Africa, Vol. 16, No. 2, pp. 119-141. Manase, I., 2011, ‘The Aesthetics of Winky D’s Zimbabwe Urban Grooves Music and an Overview of His Social Commentary on the Post-2000 Experiences in Harare and Other Urban Centres’, Muziki: Journal of Music Research in Africa, Vol. 8, No. 2, pp. 81-95.
- Mate, R., 2012, ‘Youth Lyrics, Street Language and the Politics of Age: Contextualising the Youth Question in the Third Chimurenga in Zimbabwe’, Journal of Southern African Studies, Vol. 38, No. 1, pp. 107-127.
- McClary, S., 2002, ‘Sexual Politics in Classical Music’, in S. McClary, ed., Feminine Endings: Music Gender and Sexuality, Minneapolis, University of Minnesota, pp. 53-80.
- Middleton, R., 1990, Studying Popular Music, Philadelphia: Open University Press.
- Moskowitz, M.L., 2009, ‘Men Writing Songs for Women who Complain about Men: Mandopops Gender Construction in Taiwan and PRC’, in M.L. Moskowitz, ed., Cries of Joys, Songs of Sorrow: Chinese Pop Music and its Cultural Connotations, Honolulu: University of Hawaii Press, pp. 69-90.
- Nyamuda, E., 2011, Verbal Harassment of Women on the Rise in Zimbabwe, http://www.kubatanablogs.net/kubatana/?p=4785 (accessed 10 October 2012).
- Reynolds, S. and Press, J., 1995, The Sex Revolts: Gender, Rebellion and Rock’n’roll, London: Serpent’s Tail.
- Saul, J., 2006, “On Treating Things as People: Objectification, Pornography and the History of the Vibrator”, Hypatia, Vol. 21, No. 2, pp. 45–61.
- Shore. T.M., 2009, Androgynous Geographies of the Body: Popular Music and 1960s Counter culture, (http://thomasmaxwellshore.wordpress.com/androgynous-geographies-of-the-body-popular-music-and-1960s-counter-culture/) (accessed 12 February 2012).
- Shuker, R., 2005, ed., Popular Music: The Key Concepts, London: Routledge.
- Urgent Action Fund Africa, 2006, LGBT Organizing in East Africa: The True Test for Human Rights Defenders, Nairobi: UAF-Africa.
- Valdez, P.A., 1999, Bachata del ángel caído, San Juan: Isla Negra Editores.
- Vambe, M.T., 2000, ‘Popular Songs and Social Realities in Post-Independence Zimbabwe’, African Studies Review, Vol. 43, No 2, pp. 73-86.
- Walker, L., 2005, ‘Men Behaving Differently: South African Men since 1994’, Culture, Health and Sexuality, Vol. 7, No. 3, pp. 225 – 238.
- Whiteley, S., 2000, Women and Popular Music: Sexuality, Identity and Subjectivity, London: Routledge.
- Williams, R. 1976, Keywords: A Vocabulary of Culture and Society, London: Fontana.
Les références
Adeyele-Fayemi, B., 1994, Gender, Sexuality and Popular Culture in Nigeria, Michigan: M Publishing,
University of Michigan.
Adorno, T.W., 1941, ‘The Musical Material’, Studies in Philosophy and Social Sciences, IX, pp.
-48.
Armstrong, E.G., 1993, ‘The Rhetoric of Violence in Rap and Country Music’,
Sociological Inquiry, Vol. 63, pp. 64-83.
Ballantine, C., 2000, ‘Gender, Migrancy and South African Popular Music in the Late 1940s and the
s’, Ethnomusicology, Vol. 44, No. 3, pp. 376-407.
Bennett, A., 2005, ‘Editorial: Popular Music and Leisure’, Leisure Studies, Vol.
, No. 4, pp. 333-342.
Bhatasara, S., 2010, Land Reform and Diminishing Spaces for Women in Zimbabwe: A Gender Analysis of the Fast Track Land Reform Programme, Berlin: Lambert Publishers.
Bjorck, C., 2011, ‘Freedom, Constraint or Both? Readings on Popular Music and Gender’, Action, Criticism and Theory for Music Education, Vol. 10, No. 2, pp. 8–21.
Carrey A., 2011, ‘CaribFunk Technique: Afro-Caribbean Feminism, Caribbean Dance and Popular Culture’, The Journal of Pan African Studies, Vol. 4, No. 6, pp. 126-147.
Castello, K., 2009, ‘The Same Old Song? Gender, Subjectivity and Popular Music’, Bachata del Angel Caído, Inverno, Vol. 1, No. 1, pp. 1-10.
Chari, T., 2009, ‘Continuity and Change: Impact of Global Popular Culture on Urban Grooves Music in Zimbabwe’, Muziki: Journal of Music Research in Africa, Vol. 6, No. 2, pp. 170-191.
Chari, T., 2008, ‘Representation of Women in Male-produced “Urban Grooves” Music in Zimbabwe’, Muziki: Journal of Music Research in Africa, Vol. 5, No. 1, pp. 92-110.
Chenorff, J.M., 1979, African Rhythm and African Sensibility, Chicago: Chicago University Press.
Chiweshe, M.K., 2012, ‘More than Body Parts: Theorising Gender within African Spaces’, forthcoming.
Connell, R.W. 2005, Masculinities, Berkeley: University of California Press.
Connell, R.W. and Messerschmitt, J.W., 2005, ‘Hegemonic Masculinity: Rethinking the Concept’, Gender and Society, Vol. 19, pp. 829–859.
Connolly, M. and Krueger, A.B., 2006, Rockonomics: The Economics of Popular Music: Handbook of the Economics of Art and Culture, New York: Elsevier. Costello, K. 2009, ‘The Same Old Song?: Gender, Subjectivity, and Dominican Popular Music’ in Bachata del ángel caído, Invierno, Vol. I, Número 1, pp. 1-10 Cooper, V. W., 1985, ‘Women in Popular Music: A Quantitative Analysis of
Feminine Images over Time’, Sex Roles, Vol. 13, No. 9/10, pp. 499-506.
Davies, H., 2001, ‘All Rock and Roll is Homosocial: The Representation of Women in the British Rock Music Press’, Popular Music, Vol. 20, No. 3, pp. 301-319. Frith, S., and McRobbie, A., 1990, ‘Rock and Sexuality’, in S. Frith and Goodwin, A, eds., On Record: Rock, Pop and the Written Word, London: Routledge, pp. 371–389.
Fuh, D., 2011, Quand la femme se fache’: Popular Music and Constructions of Male Identity in Cameroon, Switzerland: Institute of Social Anthropology/ Centre for African Studies, University of Basel.
Gilman, L. and Fenn, J., 2006, ‘Dance, Gender, and Popular Music in Malawi: The Case of Rap and Ragga’, Popular Music, Vol. 25, No. 3, pp. 369-381.
Irigaray, L., 1993, Je tu Nous: Towards a Culture of Difference, translated by A. Martin, New York: Routledge.
Jørgensen, M. and Phillips, L. 2002, Discourse Analysis as Theory and Method, London: Sage.
Kassabian, A., 1999, ‘Popular’, in B. Horner and T. Swiss, eds., Key Terms in Popular Music and Culture, pp. 113–123. Massachusetts: Blackwell.
Lecklider, A., 2004, ‘Between Decadence and Denial: Two Studies in Gay Male Politics and 1980s Pop Music’, Journal of Popular Music Studies, Vol. 16, No. 2, pp. 111-141.
Lee, S., 2010, Erotic Revolutionaries: Black Women, Sexuality and Popular Culture, Lanham MD: Hamilton Books.
Lewis, D., 2004, ‘African Gender Research and Postcoloniality: Legacies and Challenges?’ in
CODESRIA, African Gender Scholarship: Concepts, Methodologies and Paradigms, Dakar: CODESRIA, pp. 27–41.
Luke, A., 1997, Theory and Practice in Critical Science Discourse’, in L. Saha, ed., International Encyclopaedia of the Sociology of Education, New York: Pergamon, pp. 50-56.
Lwanda, J., 2003, ‘Mother’s Songs: Male Appropriation of Women’s Music in Malawi and Southern
Africa’, Journal of African Cultural Studies: Special Issue Focusing on the Media in and about Africa, Vol. 16, No. 2, pp. 119-141. Manase, I., 2011, ‘The Aesthetics of Winky D’s Zimbabwe Urban Grooves Music and an Overview of His Social Commentary on the Post-2000 Experiences in Harare and Other Urban Centres’, Muziki: Journal of Music Research in Africa, Vol. 8, No. 2, pp. 81-95.
Mate, R., 2012, ‘Youth Lyrics, Street Language and the Politics of Age: Contextualising the Youth Question in the Third Chimurenga in Zimbabwe’, Journal of Southern African Studies, Vol. 38, No. 1, pp. 107-127.
McClary, S., 2002, ‘Sexual Politics in Classical Music’, in S. McClary, ed., Feminine Endings: Music Gender and Sexuality, Minneapolis, University of Minnesota, pp. 53-80.
Middleton, R., 1990, Studying Popular Music, Philadelphia: Open University Press.
Moskowitz, M.L., 2009, ‘Men Writing Songs for Women who Complain about Men: Mandopops Gender Construction in Taiwan and PRC’, in M.L. Moskowitz, ed., Cries of Joys, Songs of Sorrow: Chinese Pop Music and its Cultural Connotations, Honolulu: University of Hawaii Press, pp. 69-90.
Nyamuda, E., 2011, Verbal Harassment of Women on the Rise in Zimbabwe, http://www.kubatanablogs.net/kubatana/?p=4785 (accessed 10 October 2012).
Reynolds, S. and Press, J., 1995, The Sex Revolts: Gender, Rebellion and Rock’n’roll, London: Serpent’s Tail.
Saul, J., 2006, “On Treating Things as People: Objectification, Pornography and the History of the Vibrator”, Hypatia, Vol. 21, No. 2, pp. 45–61.
Shore. T.M., 2009, Androgynous Geographies of the Body: Popular Music and 1960s Counter culture, (http://thomasmaxwellshore.wordpress.com/androgynous-geographies-of-the-body-popular-music-and-1960s-counter-culture/) (accessed 12 February 2012).
Shuker, R., 2005, ed., Popular Music: The Key Concepts, London: Routledge.
Urgent Action Fund Africa, 2006, LGBT Organizing in East Africa: The True Test for Human Rights Defenders, Nairobi: UAF-Africa.
Valdez, P.A., 1999, Bachata del ángel caído, San Juan: Isla Negra Editores.
Vambe, M.T., 2000, ‘Popular Songs and Social Realities in Post-Independence Zimbabwe’, African Studies Review, Vol. 43, No 2, pp. 73-86.
Walker, L., 2005, ‘Men Behaving Differently: South African Men since 1994’, Culture, Health and Sexuality, Vol. 7, No. 3, pp. 225 – 238.
Whiteley, S., 2000, Women and Popular Music: Sexuality, Identity and Subjectivity, London: Routledge.
Williams, R. 1976, Keywords: A Vocabulary of Culture and Society, London: Fontana.