Abstract

In this introductory chapter, we attempt to situate the Zimdancehall genre within the trajectory of music in Zimbabwe. We argue that Zimbabwean music has generally been about the hopes and aspirations of its people. Thus, Zimdancehall is part of a rich tradition of musical philosophies that are concerned with the well-being of the people. However, Zimdancehall’s disruptive messaging and strident sound mean that its approach to protest is meant to disturb the peace. This is where one locates the revolutionary nature of the genre. We argue that the genesis of Zimdancehall can be traced back to protest when Bob Marley’s 1978 song, ‘Zimbabwe’, globalised the landlocked colony’s struggle for independence, culminating in Marley headlining the Independence Day celebrations on 18 April 1980. Thereafter, the reggae sound became an indelible aspect of Zimbabwe’s musical landscape, making it impudent to conclude that Zimdancehall started in 2013. We attempt an exploration of Zimdancehall that takes into consideration the fact that the genre is a culmination of efforts by music pioneers who started as far back as 1980 to promote and create a reggae and dancehall culture in Zimbabwe. This chapter therefore looks at the foundational work which culminated in dancehall becoming a dominant urban culture, from the 1980s right up to the 2000s. The 2000s are particularly important because of the music policy and political developments that led to the genesis of the Urban Grooves, a musical movement that would prove vital to the process of Zimdancehall taking a distinct character. We conclude the chapter by offering brief descriptions of the themes of the chapters which constitute this project.

Original language	en
Pages (from-to)	1-26
Publication status	Published - 2024