Othering the Alternative: Nelson Chamisa in the Post-2017 Chief Shumba Hwenje Song

Tavengwa Gwekwerere, T. Nenjerama
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Abstract

Although Emmerson Mnangagwa’s replacement of Robert Mugabe as president of Zimbabwe prompted celebration among Zimbabweans when it happened, his tenure is hamstrung by contested political legitimacy. At the centre of perceptions of Mnangagwa as politically illegitimate is the location of his presidency in the Zimbabwe Defence Forces (ZDF) coup of November 2017 and his failure to win resoundingly in the presidential elections of July 2018 and August 2023. To mitigate this political conundrum, Zimbabwean song artists whose creative vision aligns with the worldview and priorities of the ruling Zimbabwe African National Union-Patriotic Front (ZANU-PF) emerged with a song repertoire in which Mnangagwa’s major political rival, Nelson Chamisa, is otherised as a politically immature alternative and a puppet of western countries. While numerous post-2017 ZANU-PF musical artists have contributed to this song repertoire, Chief Shumba Hwenje is the most prolific among them. This article uses purposively sampled Chief Shumba Hwenje’s post-2017 ZANU-PF songs to discuss the ways in which their representations of Chamisa as a politically immature alternative to Mnangagwa and a puppet of western countries constitute part of the matrix by which ‘Second Republic’/‘New Dispensation’ ZANU-PF has negotiated political legitimacy for Mnangagwa and maintained power since Mugabe’s ouster. It appropriates postcolonial critical conceptions of stereotype as a discursive strategy that mediates the construction of the other as knowable, prone to exaggeration and predictable to unravel how Chamisa’s framing in the post-2017 Chief Shumba Hwenje song speaks to the staying power of Mugabe-era methods of managing political (il)legitimacy through discursive (mis)representation of opponents. The article goes beyond traditional conceptions of power as legislative, judicial and executive to reveal how cultural economies of (mis)representation are also instructive in making sense of political developments in post-Mugabe Zimbabwe.
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另辟蹊径:纳尔逊-查米萨在《后2017首领松巴-赫文杰之歌》中的地位
虽然埃默森-姆南加古瓦接替罗伯特-穆加贝(Robert Mugabe)担任津巴布韦总统的消息一经传出就引起了津巴布韦人民的欢庆,但他的任期却受到了政治合法性争议的束缚。人们认为姆南加古瓦政治上不合法的核心原因是,他的总统职位在2017年11月的津巴布韦国防军(ZDF)政变中被定位,而且他未能在2018年7月和2023年8月的总统选举中大获全胜。为了缓解这一政治难题,创作理念与执政党津巴布韦非洲民族联盟-爱国阵线(ZANU-PF)的世界观和优先事项一致的津巴布韦歌曲艺术家们推出了一系列歌曲,在这些歌曲中,姆南加古瓦的主要政治对手纳尔逊-查米萨(Nelson Chamisa)被塑造成政治上不成熟的另类和西方国家的傀儡。虽然许多 2017 年后的 ZANU-PF 音乐艺术家为这一歌曲曲目做出了贡献,但 Shumba Hwenje 酋长是其中最多产的一位。本文有目的地采样了 Shumba Hwenje 酋长的 2017 年后 ZANU-PF 歌曲,以讨论这些歌曲如何将 Chamisa 表述为政治上不成熟的姆南加古瓦的替代者和西方国家的傀儡,从而构成了 "第二共和国"/"新分配 "ZANU-PF 自穆加贝下台后为姆南加古瓦谈判政治合法性并维持权力的矩阵的一部分。文章引用了后殖民主义批判概念,将刻板印象作为一种话语策略,将他人建构为可知的、易被夸大的和可预测的,从而揭示了查米萨在 2017 年后的 Shumba Hwenje 酋长之歌中的框架如何说明了穆加贝时代通过话语(错误)表述对手来管理政治(不)合法性的方法的持久力。文章超越了将权力视为立法、司法和行政的传统概念,揭示了(错误)代表的文化经济对于理解后穆加贝时代津巴布韦的政治发展也具有指导意义。
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