Summary

This article argues that while the state succeeded in framing Gukurahundi as suppression of armed rebellion with the help of some artists, Ndebele musicians also successfully counter-framed the carnage as genocide using subversive metaphors and analogies. It demonstrates that Ndebele musicians were among the earliest public sponsors of the genocide frame. In framing theory, metaphor is one of the key framing devices; as such, this article is a case-based comparative examination of metaphorical framing and counter-framing of selected songs. It uses songs by Lovemore Majayivana (Inhlanzi Yesiziba and U Tshaka) and Ebony Sheik (Isavungu-zane) but also touches on the broader context and deeper insights provided by other artists such as Thomas Mapfumo and Patrick Mukwamba.

概括

本文认为，虽然国家在一些艺术家的帮助下成功地将古库拉洪迪定性为镇压武装叛乱，但恩德贝勒音乐家也成功地使用颠覆性的隐喻和类比将大屠杀反定为种族灭绝。它表明恩德贝勒音乐家是种族灭绝框架最早的公共赞助商之一。在框架理论中，隐喻是关键的框架工具之一；因此，本文是对所选歌曲的隐喻框架和反框架的基于案例的比较检查。它使用了 Lovemore Majayivana（Inhlanzi Yesiziba和U Tshaka）和 Ebony Sheik（Isavungu-zane) 但也涉及其他艺术家（如 Thomas Mapfumo 和 Patrick Mukwamba）提供的更广泛的背景和更深入的见解。