The Impact of Apocalyptic Music on Religious, Economic, Socio-political and Cultural Life Experiences in Zimbabwe

Abstract

This study investigates the impact of apocalyptic music on religious, economic, socio-political, and cultural life experiences in Zimbabwe. The study arises from the realisation that religious, economic, socio-political, and cultural problems which are catastrophic in proportion have recently increased in Zimbabwe. Poverty, oppression, and repression characterised the daily circumstances of the Zimbabwean society of which the general citizens bore the full brunt of it all. To cope with these challenges, Zimbabweans appealed to apocalyptic music. Thus, the study was then motivated to investigate how Zimbabwean music has become a conduit of apocalyptic thought today and the extent of its impact in addressing these issues. Research on apocalypticism and its relevance to human experiences has shown that there is a strong connection between apocalypticism and popular culture. Given that apocalypticism is a biblical, particularly Jewish phenomenon, the approach considered the general and particular context. In that regard, the study investigated the context and impact of apocalyptic music on religious, economic, socio-political and cultural experiences in the light of biblical apocalypticism. Building on Jewish apocalypticism, the study responded to the following questions: What are the origins, nature, and characteristics of Jewish apocalypticism? What is the conceptual sense and functionality of apocalypticism as a strategy for resolving perceived societal problems? What is the life setting of Zimbabwean apocalyptic music? How does apocalyptic music impact on religious, socio-political, economic and cultural life experiences in Zimbabwe? Based on scholarly work reviewed in the light of Jewish apocalypticism, it has been established that apocalypticism is a genre of protest literature that was produced in the face of extreme suffering. As it communicated the state of affairs, this study referred apocalyptic genre to have manifested in different societies as a liberation tool. Besides its manifestation in Zimbabwean music, it manifested through black music in America and Kenya through Joseph Kamaru’s music, to mention a few. The study employed the descriptive research design method. Given apocalyptic music being a protest or liberation genre with the capacity to advocate, empower, liberate and transform the marginalised, the study aligned itself to the combination of the interpretivism and emancipatory philosophical paradigms. Thus, from the two frameworks' philosophical assumptions, the study employed the qualitative method to analyse data. The qualitative method helped analyse how apocalyptic music has been associated with issues to do with conflict, oppression, marginalisation, alienation, and other forms of deprivation. Data was gathered from Mashonaland Central, Mashonaland West, Mashonaland East, Manicaland, Midlands and Matebeleland provinces. From these provinces, the targeted population was the ordinary Zimbabweans, musicians, biblical scholars, directors of music censorship board and production companies, and members of the liberation music choirs. A combination of the content, narrative and discourse methods were used in analysing the data. Then to test the hypotheses, the Cognitive dissonance theory by Leon Festinger and the Centre Periphery theory by Johan Galtung

were applied. The Cognitive dissonance theory helped analyse how Zimbabweans developed cognitions based on their beliefs, actions and life perceptions. Also, it was helpful to analyse how Zimbabweans, under undemocratic leadership, experienced inconsistencies when promises were not fulfilled and how they appealed to apocalyptic music to attain assonance. On the other hand, the Centre Periphery theory helped analyse how the background and social position of a musician influenced his message. An analysis of the findings shows that from listening to apocalyptic music, Zimbabweans have managed to reinterpret and establish solutions to their religious, economic, social, political, and cultural problems posed by undemocratic systems. Several challenges surround apocalyptic music as it is produced under pseudonymity and written in coded language that needs decoding. Besides these challenges, still, apocalyptic music instils hope for a better future for the deprived, marginalised and oppressed and as well breeds the spirit of liberation. Unlike Jewish apocalypticism, which is anchored on the belief that reprieve from suffering comes through divine intervention, the divine is not central in Zimbabwean apocalyptic music. However, it is the seer (musician) who agitates for a revolution. Finally, the study established that Zimbabwean apocalyptic music had an impact during the colonial and post-colonial periods to motivate people so that they persevere in times of challenges or adversities. On this basis, it is recommended that apocalyptic music plays a significant part in communicating the woes of the suffering community. Further research may be carried on the role of language in conveying hidden or public transcripts. Studies may be done on the role of drama as an outlet to speak people’s minds in times of extreme suffering, repression and oppression. Also, further study may be carried on the voice of apocalypticism from the women musicians as it has been seen that most singers on protest music are male seers.