Kelvin Chikonzo

University of Zimbabwe | UZ · Department of Theatre Arts

This chapter analyses Vhitori Productions’ Protest Revolutionaries (2012) as an example of democratic protest theatre in post-crisis Zimbabwe. It explores how Protest Revolutionaries empowers subaltern classes to use the theatre to design, implement and modify processes of social transformation. Most protest plays produced during the Zimbabwean cri...

This article offers a post-colonial critique of colonialists and African perspectives of African spectatorship of comical films made by the Central African Film Unit in Rhodesia, present day Zimbabwe. The article deploys the post-colonial theory in order to unveil plural and separate Colonialists interpretations of African experiences of comical fi...

Critics contend that Zimbabwe plunged into a political and economic crisis between 1999 and 2009. This decade in crisis witnessed a boom in a form of theatre that questions the authority and legitimacy of the state (Zenenga 2010). This theatre is highly adversarial and oppositional to state hegemony (Chivandikwa 2012). This brand of theatre, known...

Between 1999 and 2008, Zimbabwe was in political and economic crisis. A number of theatre-makers responded by creating several different kinds of protest theatre. They did this to compensate for a media monopoly by the state, to promote active citizen engagement in politics, and to promote political change. This article first surveys developments i...

One of the most effective cultural tools used by the colonial governments in Africa to make their rule acceptable to African indigenous populations was film. In Rhodesia (now known as Zimbabwe) the colonial government created the Central Film Unit whose major aim was to teach Africans new agricultural methods. The response by Africans to this colon...