Abstract

While there are many refined musical productions, Zimdancehall is epitomised by the use of explicit vulgar lyrics. This article attempts to make sense of vulgarity in the musical genre against the knowledge that, although vulgarity is obnoxious in the public sphere, it is functional in specific contexts among the Shona people of Zimbabwe. Deploying a theoretical gaze that is grounded in concepts of indigenous knowledge systems, aesthetics of vulgarity and subalternity, the article grapples with Zimdancehall artists’ pursuit of creative power and recognition through unorthodox use of vulgar lyrics. The article shows the expediency of vulgarity in artists’ expressions of power, and how it is used to gain fame in a highly competitive music industry with established musicians. Such artistic power is gained through the “diss” modus, that is, through the appropriation of masculine supremacy and the subversion of femininity. Counter-hegemonic discourses are used to contest the dominance of rival artists by employing vulgar humour. It is one thing to pursue recognition, but it is another to be recognised. The use of vulgar lyrics alone does not always translate into artistic power and fame.

摘要

尽管有许多精致的音乐作品，但齐曼德斯霍尔（Zimdancehall）的表现是粗俗的歌词。本文试图根据这样的知识来理解音乐流派中的粗俗，尽管粗俗在公共领域令人讨厌，但它在津巴布韦绍纳人的特定环境中是有用的。这篇文章以本土知识体系、粗俗和次要美学的概念为基础，运用理论眼光，通过非正统地使用粗俗歌词来应对 Zimdancehall 艺术家对创造力和认可的追求。这篇文章展示了艺术家表达权力时粗俗的权宜之计，以及如何在竞争激烈的音乐行业中获得名声，并拥有成熟的音乐家。这种艺术力量是通过“diss”方式获得的，即 通过对男性至上的占有和对女性气质的颠覆。反霸权话语被用来通过粗俗幽默来对抗竞争对手艺术家的统治地位。追求认可是一回事，但是要被认可则是另一回事。仅使用粗俗的歌词并不总能转化为艺术力量和名气。