Great Zimbabwe University

Mwenezi Karanga Matendera Secular Dance: Repackaging the Heritage for Sustainability

By

FUMISAI RWAENDEPI

(M080392)

A RESEARCH PROPOSAL IN FULFILLMENT OF THE REQUIREMENTS OF

MASTER OF PHILOSOPHY IN CREATIVE AND PERFORMING ARTS

in the

FACULTY OF CULTURE AND HERITAGE STUDIES

at

GREAT ZIMBABWE UNIVERSITY

Supervisors: Dr. J Rutsate and Prof. M Nzewi

1|Page
1.0 Background of the Study

The connection between dance and sustainability has been in existence as early as the 16 th

century in Western countries. Dance has further been acclaimed as a catalyst and a major

contributing agent of socio-economic transformation (UNESCO, 2009). The United Nations

Education Science and Culture Organisation (UNESCO) have made remarkable efforts to

support and promote the relation between cultural heritage and development. The UNESCO

conference on “Culture Development and Cultural Diversity: Issues for the INCP, Implications

for Convention on Cultural Diversity”, held in October 2002 provided a legal foundation for the

integration of sustainable development frameworks and processes, (UNESCO, 2002). The 2010

Millennium Development Goals (MDGs) Summit High Level Round Table on Culture for 5

heritage as an integral part of development as it plays a crucial role in the pursuit of (MDGs),

particularly poverty reduction (UNESCO, 2010).

In response to UNESCO’s call for the use of cultural heritage as an economic resource in the

development agendas, the Zimbabwean government through the National Arts Council of

Zimbabwe (NACZ) endorsed the (UNESCO) conventions on the promotion of tangible and

intangible heritage as an agent for socio-economic transformative resolution. The (NACZ)

developed the Zimbabwean culture policy which guides the integration of arts and culture, dance

included, for sustainable development. The Zimbabwean culture policy strives to improve the

use of dance for development through the following initiatives.

 Strengthen the administrative capacity of dance organisation and groups.

2|Page
  Development of training materials for use in the preservation and documentation of

traditional dance forms, and for the strengthening of contemporary dance forms and their

presentation.

 Encourage the incorporation of dance skills and appreciation in the school curriculum.

 Provision of appropriate facilities for dance, rehearsals and performance with the

assistance of local authorities.

 Commercialisation of dance performances through recorded video production for

distribution to the viewing public at home and abroad.

 Stimulate the development of Zimbabwean contemporary dance skills through the system

of competitions and awards

In Zimbabwe, dance cultural heritage has been absent from the sustainable development debate

despite its crucial significance to societies and the wide acknowledgment of its importance at

national level. It has also been absent despite the wide ratification of the UNESCO Culture

Conventions by the Organization’s Member States. Globalization, urbanization and climate

change can threaten the cultural heritage and weaken cultural diversity. In tyrannical

environments such as Zimbabwe, dance and music is usually used by the government to spruce

up their image and propagandize the people with their biased political philosophies. Chirwa

(2001) maintains that tyrannical governments manipulate popular music and dance performances

to create and entrench an oppressive political culture in the country. Dance is firmly grounded in

the Zimbabwean culture where it is used to communicate about any matter realistically or

imagined to be affecting the society. The Karanga people in Mwenezi, Masvingo Province have

taken it upon themselves to lubricate secular and ritual events with dance. In their performances,

3|Page
they use Matendera traditional dance to entertain people at social events in the area of Mwenezi.

Zimbabwe is a multi-cultural country whose dances are just as varied as the ethnic groupings

inhibiting the country. Kariamu Asante argues that “One cannot discuss Zimbabwean dance as an

entity when Zimbabwe contains so many different ethnic groups, each with their own particular

history and subculture” (2000: 6). This research maintains that an in-depth discussion of the

various Zimbabwean and specifically Karanga traditional dances is subject to another study as it

does not fall within the parameters of the current study. The current study seeks to explore the

repackaging of the Mwenezi Karanga Matendera secular dance for sustainability.

Matendera is a secular indigenous songs and dance performed at various social events for

entertainment among the Karanga people in Mwenezi district, Masvingo province in the South-

eastern part of Zimbabwe. The dance has no fixed context; it is performed at various social

events such as traditional beer drinking parties, installation of kings, marriage ceremonies to

mention a few. It is also used to accompany ritual ceremonial activities for the purpose of

entertainment at events such as rainmaking and Kurova guva rituals among the Karanga people

in Mwenezi district.

2.0 The researcher’s background and connection to the research topic.

I am from the Karanga clan and I have been living among the Karanga people in Machepfu

village, Mutimwi area, Zaka District, Masvingo Province, Zimbabwe for a long period of time.

After my secondary teachers’ training course, I worked in Chivi district as a secondary music

teacher. I also participated in Jikinya dance festival as an adjudicator and a dance instructor. This

exposed me to the secular Matendera traditional dance of the Karanga people in Mwenezi

4|Page
districof Masvingo province in the context of Jikinya dance festival. The festival, being the

brainchild of the National Arts Council of Zimbabwe showcases various traditional dances by

primary school pupils from around the country. It is held annually and aims at encouraging

children to appreciate and perform Zimbabwean traditional dances thus promoting and

preserving Zimbabwe’s rich cultural intangible heritage.

My experience with Matendera dance as a teacher and as an adjudicator captivated and left me

wondering how the Karanga are benefiting from Matendera traditional dance as their intangible

cultural heritage. My friend Norman Mudzimiri and I were invited to adjudicate at a District

Competition on dance and choral at Neshuro Growth point in Mwenezi in 2009. The

performance of Matendera dance by one Matande primary school left everyone stunned to the

fillet on that particular day. The team was victorious and it proceeded to the provincials where it

unanimously topped and it represented the province at national level where it eventually attained

third position. Ever since then, I have experienced unlimited interest in studying the dance.

There are various scholars who wrote about traditional dance in Zimbabwe. These include

Rutsate (2014) and Ngara (2012). Most of these researchers were more concerned about the

meaning, documentation and preservation of the dances. Little has been done to academically

advocate for the use of traditional dances as an agent of socio-economic transformation. The

current thesis is prompted by the need to close the hypothetical and scholarly lacuna by

examining ways by which Matendera traditional dance can be repackaged for livelihood

transformative initiatives for the Karanga people in Mwenezi and also the need for documented

literature that the updated Zimbabwe school curriculum greatly lacks and for all those who want

to venture into Matendera traditional dance investment projects for sustainability.

5|Page
3.0 Statement of the problem

Over recent years, and as a result of major phenomenal changes such as climate change,

globalization, the world financial crisis, growing inequalities and globally increasing urban

populations, the linkages between cultural heritage and sustainable development have taken

centre stage within the development sector and beyond. In Zimbabwe, limited attempts have

been made towards the performance of dance heritage for sustainability. This is due to the

general perceptions of politicians and decision makers on what constitutes important projects

when allocating funds. In Zimbabwe, dance heritage and culture is unfortunately not rated as

important and have therefore not been considered a priority when the government gives financial

support to development projects contrary to international trends. The above discrepancy can also

be attributed to the country’s history where Zimbabwe’s dance heritage systems and rituals were

criticised and condemned by the European missionaries and other colonialists who denounced

them as mere “superstitions” and many of the beliefs and practices as immoral. According to

Thompson (1975) missionaries advocated that such practices should be eradicated by raising fear

that continual performance of such rituals was seen as a sin. Therefore, it is imperative for

economic development that people are made aware of this beautiful country and its unique dance

cultural heritages, which should be tapped for livelihood sustainability. Nonetheless, Zimbabwe

like many developing countries in Southern Africa bears testimony to various rich types of dance

cultural heritage spread throughout the country including Mwenezi district in Masvingo

province, which could influence sustainability if tapped for such purpose. The problem that

Zimbabwe and other developing countries face is how to make full advantages of such wealth for

the betterment of the people’s livelihood.

6|Page
While the unique role of providing sustainability for people through dance cultural heritage

remains undisputed in the face of socio-economic challenges, some are beginning to ask how the

imperative of promoting and safeguarding the dance cultural heritage can be balanced with other

equally legitimate – and often more pressing – needs, especially in developing regions. The

question that is being posed is not so much how to ensure the sustainability of the dance cultural

heritage, but rather how to justify its integration into developmental initiatives in the larger sense

and in a rapidly changing cultural environment, or, in other words, how to justify its relevance to

the livelihood adaptations from an inter-generational perspective.

An examination of the linkages between sustainable development and the Matendera dance

cultural heritage should start by recognizing the important role that the latter plays among the

Karanga people. Today, as in the past, the Matendera dance ethnic tradition continues to perform

irreplaceable roles as a trajectory of meaning and identity for the Karanga individuals and

communities at large. However, it is striking how far the very definition of what constitutes the

Matendera cultural heritage, in both its tangible and intangible forms, has evolved within the

scientific community over recent decades to include an increasingly large section of the

environment and human forms of expression.

The performance of Matendera in sacred and secular events has also increased significantly in

scope, testifying not only to the achievements of great artists, but also to the everyday lives of

the Karanga people under chief Negari in Mwenezi. Similarly, the dance is gaining popularity

due to its performance in Jikinya dance festival and it is also performed for social practices,

rituals, festive events and for knowledge and practices concerning Karanga cosmology. Also

7|Page
connected to the social transformations that have taken place in recent years is the fact that the

identification of the Matendera dance cultural heritage and decisions on how to use it are no

longer considered as technical questions to be decided exclusively by a few ‘experts’ but instead

have become an integral part of the public debate and subjects of concern for various groups of

interests within the communities concerned. Hence, its role as an active agent of social

transformation needs to be increasingly underscored. Therefore, the concern of the present study

is to investigate the processes of repackaging of Matendera secular dance, for sustainability.

4.0 Objectives of the Study

The object of the research is to repackage Matendera traditional dance for sustainable

development as a new archetype in the context of cultural heritage. The following objectives

have been defined for the achievement of the aim of the thesis:

 To carry out a theoretical analysis of Matendera dance, define its origins, fundamentals,

the necessities for its performances and present an interpretation of concepts for

phenomenological use of the dance for sustainability.

 To present perceptions on the reproductions of Matendera dance for socio-economic

transformation in the context of creative and cultural industries in Zimbabwe.

 To identify, on the basis of the analysis of research sources, the criteria for the sustainable

repackaging of Matendera dance for socio-economic transformation.

 To create an adequate Matendera dance portfolio in order to secure the sustainable

development of the Karanga community.

8|Page
5.0 Significance of the Study

During my encounter with the Matendera culture experts, the consultants emphasised that they

were very willing to grant the researcher access to more information on their Matendera dance

cultural heritage. As an aspiring ethnomusicologist, the informants appreciated my desire to

produce written documents on Matendera songs and dance for their sustenance and for the

purpose of producing source of information about the dance which should be used in both

primary and secondary schools in support of the implementation of the updated curriculum. The

thesis is an alternative by which the world would come to know about Matendera dance of the

Karanga people in Mwenezi district of Masvingo province.

Under the conditions of globalization, the mechanisms of repackaging Matendera dance for

sustainable development is one of the most innovative and least researched objects as far as

dance cultural heritage is concerned in Zimbabwe. The underlying idea of the research to be

carried out within the framework of the present thesis is to investigate the paradigm of

repackaging Matendera cultural dance heritage for livelihood adaptions taking into account the

challenges of globalization and the trends in the repackaging of dance cultural heritage for socio-

economic transformation in Zimbabwe and throughout the world. Therein the current thesis

identifies criteria for the repackaging of Matendera dance songs for sustainable development and

the repackaging is demonstrated using investment dance portfolio as efficient recourse allocation

tool, which ensures socio-economic transformation; as an instrument for solutions of life

hardships.

9|Page
The study is also relevant as it will not only be informative to the broader traditional dance

business in Zimbabwe. Although similar studies have been carried out inside and outside

Zimbabwe in departments such as tourism, there is need for more in-depth ethnographic studies

on the repackaging of dance cultural heritage using ethnomusicological lenses.

As a relatively new concept in the arts business in Zimbabwe, dance heritage and culture lacks

researchers in the field particularly in Mwenezi district. The current study seeks to serve as a

source of information and make a contribution to: politicians and policy makers so that the bias

against dance cultural heritage is overcome when it comes to allocation of funds for major

projects; potential private sector funders, who could be interested in supporting Zimbabwe’s

dance cultural heritage projects, culture and heritage legislative which could be revised and

updated; the tourist industry by identifying features which could be popular and consider ways in

which to develop them for a wider market and the local Karanga people in Mwenezi, by

revitalising pride in their Matendera cultural heritage and practices, thereby creating an

awareness of the value of their dance heritage in various cultural departments for the government

and non-governmental organisations.

As regards the Mwenezi district as the area of study, the research will present an analysis of the

origin of the village under chief Negari as well as its image in the arts industry and consider the

community’s understanding of the dance cultural heritage in their localities as well as the

community’s perception of the impact of Matendera traditional dance cultural heritage in their

livelihood.

10 | P a g e
Also, the captured performances and the transcription of some of the songs into staff notation

serve as preliminary teaching material in schools, colleges, and universities that offer dance and

music as a discipline. This is achieved through audio, video watching, listening, and imitating the

drumming, singing, and dancing patterns. Consequently, this study will contribute to the already

existing literature in anthropology and ethnomusicology on other ethnic groups in Zimbabwe and

the world at large once publications are made available.

6.0 Limitations

Apparently, some of the Karanga resource persons from whom I am supposed to refer are already reeling

with old age and might not be still alive by the time I get into the field. The passing on trend may end up

eradicating the expert culture bearers such that genuine information on the orally transmitted Matendera

dance cultural heritage will prove hard to get. Furthermore, the scourge of emerging sprouting churches

pose a threat as they absorb a number of youths who should foresee the future of the Matendera dance.

Generally, the Christianity religion’s attitude towards cultural songs and dance beliefs and ceremonies is

negative. These two unavoidable circumstances acknowledged above are a serious threat to the orally

transmitted practice of Matendera cultural practices in the near future. Oral transmission is, “the handing

down of that tradition other than the written one” Spearritt (1987:17). Powdermaker (1968:367) maintains

that oral traditions are facing extreme challenges because of the pace at which modernisation and political

change is sweeping away older orally transmitted traditions. The coming of independence has even

accelerated this process.

Another challenge which the researcher might experience during his study is that the informants

sometimes might refuse to give answers to certain questions. They may emphasise that there is

11 | P a g e
exceptional wisdom which they would never disclose to outsiders since it is their secret and

treasure. I will accept this and never force anybody to any answer.

7.0 Delimitations

This study is an examination of the repackaging of Matendera secular dance for sustainability.

Under chief Negari, a Mwenezi village called Rutavo near Neshuro growth point in Masvingo

province of Zimbabwe is the main focus of the study and a primary school called Matande has

been performing this dance exceptionally well of late. Some of the ethnographic data for this

thesis will be gathered from the neighboring villages such as Marondere and Chivava around the

Matande Primary School community together with related cultural village sites, all situated

within the reach of Neshuro growth point. Mwenezi is still in the early stages in terms of the use

of dance heritage for socio-economic change. Nonetheless, Mwenezi has always been portrayed

as an area with low agricultural productions due to low rainfall and high temperatures, a trend

which requires other sources of sustainability.

8.0 Literature review: An overview

Traditionally, the Karanga people used to interact with each other through different activities.

This is encapsulated in the principle of communalism that prescribes to a certain extent the

respectful and socially sensitive way in which individuals interact with one another. Dance and

songs are used in rituals, initiations, celebrations, funerals and many other aspects of Karanga

community life. The act of performing music together develops interpersonal relationships

because it requires a level of coordination and collaboration that often results in the creation of

emotional ties (Kaemmer 1993). ‘The solidarity that arises can be used ‘to mobilize one group

12 | P a g e
against another, so that music and dance easily becomes socially cultivated’ (Kaemmer 1993, p.

159). It is clear that historically, dance and musical heritage has played a role in affecting social

change among the Karanga people. However, there is little effort by the Zimbabweans to

promote the use of dance and its related arts for sustainability.

Rutsate (2010:10) suggests that, genres such as lullabies, game songs, work songs, love songs,

wedding songs, folktale songs, and satirical songs may be functional in secular situations where

they enhance everyday activities. Such power and the role of music in supporting social activities

should also be challenged towards economic transformation. Kariamu-Welsh Asante explains

what makes dance unique among the arts by defining African dance as “a part of the whole

complex of living” (Asante 1996:4). For example, the Karanga harvesting celebration ceremony

is a whole complex in which mbakumba songs and dance are part and parcel of the celebration,

playing a crucial part of facilitating and lubricating the whole ceremony, so that it will be

enjoyable.

Dance has been referred to as one of the oldest of arts and this is supported by Anya Royce

(1977:3): “The human body making patterns in time and space is what makes the dance unique

among the arts and perhaps explains its antiquity and universality”. In her definition, Hanna

(1987:19) treats dance as human behaviour that is purposeful, intentionally rhythmical, and

culturally patterned sequences of nonverbal body movements composed from the dancer’s

perspective and having inherent and aesthetic value. By confining dance to body movement and

the composition of choreographed movements to an individual dancer, Hanna tends to concur

with Western philosophy of individuality and aestheticism. This constricted, confined and

restricted approach to dance might have contributed to the reawakening of this art as alluded to

13 | P a g e
Theophile Gautier, as cited in Levinson (1983:47): “The French are not sufficiently artistic to be

satisfied with the plastic forms of poetry, painting, music and dance. They need an addition, a

concrete significance, action, a logically worked out story’’. An example of a “logically worked

out” that took the form of dance is ballet, which is founded on five positions of the feet. Royce

(1977) and Hanna (1987) are among many scholars whose definitions of dance have centred on

body movement that emphasises the visual dimension of this, something that has been and

continues to be a typical issue in dance scholar.

Rutsate (2010:120) suggests that, dance performances among the Karanga people include

singing, drumming, dancing, handclapping, and ululation as signals for heightening the

performance. Therefore one can suggest that the Karanga never conceptualise dance in

separation from its ceremonial context. African dance is essentially body music that is psycho-

physiologically depicted and, as such, is supernormal experiencing of the body. Nzewi

(2007:37). This original objective of African indigenous dances has become misperceived and

corrupted by exogenous ideas that impute pejorative associations such as the base and obscene

misrepresentations and longings that mark the modern commercial exploitation of African

cultural practices (ibid). Therefore this research is a reconstruction of the meaning of Matendera

dance among the Karanga people.

“Playing-in-togetherness” is a root term in indigenous musical arts discourse. The answer to

“playing what together” begins to distinguish peculiar artistic manifestations, necessitating

cognate compound terms for differentiating sub-concepts of the common creative ideation. In the

Igbo conceptualization and practice of the musical arts in Nigeria, fifty-eight (non-exhaustive)

compound terms for artistic manifestations were identified: twenty for artistic interactivities,

14 | P a g e
fifteen for aesthetic perceptions, eighteen for discussing organization of performance, and five

for the organization of materials for musical arts production (Nzewi, 1991:41-44).

In the study of oral cultures, myths are the carriers of belief and value systems (Ross 2000:123).

In addition, Edelman (1977:609) cited in Ngara (2012) defines a mythology as "a widely

accepted belief that gives meaning to events and that is socially cued, whether or not it is

verifiable." Edelman and Ross concur in that they both perceive that myths convey shared belief

systems. Ngara (2012) defines mythology as a supernatural tale embedded in unproven or

unconfirmed ethnic insights that are linked to creation. For the Freudians ‘symbolism’ indicates a

process where a single idea is used as a substitute for an unconscious concept. This means that a

symbol is the veiled masked expression of a thought in a fantastic form that contains an analogy

(Jones 1951:130). Therefore, the possibility to understand the Matendera songs and dance

symbols is by engaging in a critical dialogue with the Karanga as insiders since they are the ones

who constructed those symbolic meanings. These meanings should be obtained by allowing the

Karanga people to interpret their cultural mythological symbols embedded in Matendera. In this

research thesis, this shall be done through culturally authoritative interpretation. Geertz in

(Bourdillon 1990: 141) stress culture as meaning expressed through symbolic and mythological

means. The conceptualisation of culture as a symbolic implies interpretive approach from the

native’s point of view.

9.0 Theoretical Framework

This ethnographic research will be grounded on positive deviance, particularism, cultural

relativism, and feminism theories. The research seeks to repackage Matendera dance among the

Karanga people in Mwenezi through the theoretical tenets of the ‘Positive Deviance Approach’

15 | P a g e
(Dodge 1985). This is a model used in solving community problems using locally available

resources. The theory forwards that bringing about social change is not dependent on huge

numbers of the people acting as change agents but on their willingness to bring about change. I

will use the model to review the Karanga people in Mwenezi for the purpose of maintaining and

upholding their Matendera cultural heritage for sustenance.

This ethnomusicological field study is also grounded on particularism. Boas (1948:49)

emphasises particularistic examination of a definite ethnic group in separation from other groups

as the most outstanding way to appreciate how it operates. Shelemay (1996:13) notes that

ethnomusicologists were committed to the relativist philosophy in their endeavour to understand

a particular culture. Relativism recommends that an individual human's beliefs and activities

make sense in terms of his or her own culture. As a result, the researcher will also, adopt cultural

relativism theory in order to explore the scenarios of repackaging Matendera traditional dance

for sustainability.

Feminism is concerned with the social construction of sex and gender and with particular

emphasis on women’s rights (Letherby 2003:51). So, the theory seeks to address gender

inequality which is experienced by women. Traditional dances create a condition where both

men and women stand on equal positions, that is they temporarily exist without any domination

or submission.

16 | P a g e
10. Research Methodology

The study shall use the ethnographical approach which shall be anchored in the fieldwork among

the Karanga people in Matande and areas around Neshuro in Mwenezi district under chief

Negari. It shall be “fieldwork a face to face interaction with the Karanga culture experts as

postulated by Cooley and Barz (2008:3) as cited in (Ngara 2012:13) which shall give the

researcher ample time to gather data from the Matendera culture experts. It shall be eye to eye

contact and dialogue with particular informants that shall allow the researcher to get deeper and

deeper into the Karanga people’s cosmology individually.

The ethnographic research paradigm shall be helpful because, through its principles of epoche

and eidetic intuition, it shall enable the researcher to respect and explicate the Karanga people’s

particular intuitions, social behavior in respond to Matendera dance heritage music as an insider.

This is because the researcher is from the Karanga clan. This is echoed by Pike, as cited in

McCutheon (199:17) when he talks of the “emic” perspective which results from the inside of

the Karanga indigenous knowledge system.

The rationale for the choice of the ethnographic method hangs on the fact that, the ethnographer

shall immerse himself, observe, and participate in the Karanga people’s daily lives for an

extended period of time watching what happens, listening to what is said and asking questions as

recommended by (Flick 1984:42). The immersion shall go for more than two weeks or for a

long period of time. The necessity to collect data through direct and total involvement is

emphasised in ethnography. Therefore, the current study shall make use of the fieldwork as an

attribute of ethnography as the most exceptional way of constructing the Karanga people’s views

about repackaging Matendera dance for sustainability. Agar (2009) insists that fieldwork also

involves culturally authoritative interpretation and explication of oral dance and music culture

17 | P a g e
from the native culture bearers that is the Karanga people’s Matendera songs and dance cultural

heritage. Malinowski (1922:25) pointed out that the goal of ethnography is to grasp the native’s

point of view... to realise his/her vision of the world.

Observation, participant-observation [being- in- the field] as suggested by Titon (2008:25)

intensive participation, interviewing, audio and video filming, and tape recording, will be used

extensively in the gathering of data in ethnographic grounded researches in the discipline of

ethnomusicology. Participant observation shall be used when the Karanga are singing and

dancing Matendera songs and dance. Gold as cited in Dubin and Babbie (1993:365) states that, a

participant –as-observer, participates fully with the group understudy but makes clear that he or

she is undertaking a research. Amit (2000:2) in supporting the merits of participant observation

suggests that, it is the “totality” of participant observation, of course, that facilitates holism, but it

creates an intimacy between the researcher and the informants not provided by other research

methods. Powdermaker insists that, “this total participation and observation is where humanism

of participant observation comes to the force, in contrast to its scientific observation and

explanation (1968:9). However there is need to vouchsafe a word of caution. Dubin and Babbie

suggest that there are dangers in this role. People being studied may shift much of their attention

to the research project rather than focusing on the natural social process and the process being

observed may no longer be typical. (The Hawthorne effect). On the other hand, the researcher

may come to identify too much with the interests and view point of the participants, (Rubin and

Babbie, 1993:365).

In this ethnographic study, the researcher shall also engage certain consultants, the native cultural

bearers (i.e. the Karanga) to tell their story or interpret the meaning of Matendera songs and

18 | P a g e
dance, through unstructured interviews. As informed by Kottak (2008:245) and Mishler

(1991:135), unstructured interviews allow the researcher to probe into initial responses and

consequently he/she obtains more detailed answers to the research questions.

Data shall also be collected by taking down field notes, audio and video recording. Since the

thrust of ethnographic research is holistic study, video recording of Matendera songs and dance

performance activities are important in terms of its perception and documentation of the data.

Video camera is crucial for this study because it captures both audio and visual facts holistically.

Flick (ibid:90) suggest that, video camera do not get tired, do not forget and do not make

mistakes but they tell the truth about the subject under study. Hence audio and video recording

are methods in the collection of data in ethnographic methodological paradigm.

10.1 Ethical Considerations

Conducting research with ethnic groups of informants is fraught with practical and ethical

pitfalls Mcllwaine and Datta (2006:89). The researcher shall seek consent from all the

participants before they are interviewed. They shall be briefed about the topic and informed that

they shall not be obliged to answer any questions that they feel uncomfortable with. The

informants shall also be informed that they are free to withdraw from the interview at any time of

the research. The participants shall also be assured of the confidentiality of their research

contributions and that the findings would be used for academic purposes and for the culture

bearers’ sustainability only and that their real names would be used after they agreed.

10.2 Sampling

19 | P a g e
The study intent to use purposive and self-selection sampling techniques to select respondents.

According to Gibson and Brown (1987: 39) in purposive sampling, selection of participants,

setting, and other sampling units are criterion based. The sample units are chosen because they

have particular features or characteristics that will enable a detailed exploration and

understanding of the central puzzles that the researcher wishes to study. In essence, the sampling

techniques selected in this study shall enable the researcher to obtain the appropriate respondents

who will provide sufficient data to meet the research objectives.

10.3 Reliability, validity and trustworthiness issues

To enhance the validity, reliability and trustworthiness of the study, the researcher shall adopt a

triangulation technique. This will be done through the use of three data collection methods.

Brundrett and Rhodes (2014) add that triangulation involves the idea of approaching data

collection from more than a single point of view. Olsen (2004) writes that methodological

triangulation involves the use of multiple qualitative methods to assess the same aspect. The

researcher shall triangulate data collected from observations, indepth interviews and audio and

video cameras. Patton (2001) supports the use of triangulation by stating that “triangulation

strengthens a study by combining methods. This can mean using several kinds of methods or

data collection tools”. To enhance the dependability of the study, the researcher will cross-

validate the findings between the villages selected for this research.

10.4 DATA PRESENTATION AND ANALYSIS

10.4.1 Presentation

20 | P a g e
All the data collected will be presented in this research. Different data collection techniques may

use different data presentation methods but before presentation, data must be properly handled

and managed. Data management involves properly handling and storing of data collected to

avoid distortion and loss. According to Schwandt (1997) data management “is a designed

structure for systematising, categorising, and filing materials to make them efficiently retrievable

and duplicable” (quoted in Guest et al. 2013, 275). The researcher intents to use the Nvivo

computer aided software for the purpose of handling and storing data. Data from observations

shall be presented as narrative descriptions. Thick descriptions of what will have been observed

during data collection process. On interviews, some transcriptions of data recorded on audio

tapes will also be done through the Nvivo software again and the same data will be presented in

the form of narratives. Some direct quotations will be presented followed by thick descriptions.

Where themes and patterns emerge, some thick description and analysis will be done. In short,

the simple process to present data shall start with the editing process that is, checking for errors

and omissions. After editing data, it will be arranged in groups or classes on the basis of similar

characteristics. These characteristics will then be analysed to come up with emerging themes and

patterns. In this study, the classification of data will be done according to attributes which will be

descriptive in nature.

10.4.2 Analysis

The researcher shall use an inductive approach for analysis. This means starting from the known

and progressing gradually to the unknown using the theoretical framework and literature review

processes as guidelines. McMillian and Schumacher (2010) state that qualitative data analysis is

primarily an inductive process of organising data into categories and identifying similar patterns

among them. In this case, data analysis will be determined by interpretation of raw data from the

21 | P a g e
 three data collecting procedures applied to come up with themes and patterns pertinent to this

study. In simple terms, it will be classified according to common attributes. The major blocks of

data that will come from such classifications will be treated as emerging patterns and themes.

From the identification of these themes, data analysis will then be done inductively in line with

the grounded theory approach.

11. Gantt chart

RESEARCH ACTIVITIES YEAR 2017 2018 2019

PLANNING OF RESEARCH XXXXXXXXXX XXXXXXXX

LITERATURE RESEARCH XXXXXXXX

31 January XXXXXXXX

DATA COLLECTION XXXXXXXX XXXXXXXXXXXXX

DATA ENTRY AND ANALYSIS XXXXXXXXXXXXX

REPORT WRITING XXXXXXXXXXXXX

22 | P a g e
References

Amit, V. (2000) ‘Introduction: Constructing the Fieldwork.’ In his edited. Constructing

Ethnographic Fieldwork in the contemporary world. New York: Routledge.

Asante, K.W. (1996). African Dance: An Artistic, Historical, and Philosophical Inquiry.

Boas, F. (1948). Race, Language and Culture. New York: Macmillan.

23 | P a g e
Bohlman, P. V. (2008). ‘Returning to the Ethnomusicological Past.’ In: Gregory, F. Barz and

Timothy, J. Cooley. (2005): Shadows in the Field: New Perspectives for Fieldwork in

Ethnomusicology. Oxford: University Press.

Bourdillon, M. F. (1991). The Shona People’s Anthropology of Contemporary Shona, with

Reference to Their Religion. Gweru: Mambo Press.

Hanna, J.L. (1987) To Dance Is Human: A Theory of Nonverbal communication. Chicago

University of Chicago Press.

Janzen. J.M. (1992): Discourse of Healing in Central and Southern Africa. Comparative Studies

of Health Systems and Medical Care, 34. Berkeley and Loss Angeles: University of Califonia

Press.

Koritz, Army (1990) “Re/Moving Boundaries: From Dance History to cultural Studies.” In

Sharing the Dance: Contact, Improvisation and American Culture, ed. Cynthia Novack, 88-103

Madison: University of Wisconsin Press.

Guba, E. (1989). Fourth Generation Evaluation. Sage Publication.

Ngara, R. (2012). Mukwerera, a Shangwe Rainmaking Ceremony: Its Music, Dance and

Symbols. Unpublished. MA Thesis. Faculty of Social Sciences and Humanities: Pretoria

University.

Ngara, R. (2014). Gender and Sexuality, a Reflection on Rainmaking Songs. International

Journal of Social Sciences, 3: 20-28.

Nzewi Meki (2007). A Contemporary Study of Musical Arts Informed by African Indigenous

Knowledge Systems, Volume Four. Pretoria CIIMD.

24 | P a g e
Mugenda, O. M. (1999). Research Methods: Quantitative and Qualitative Approaches. Nairobi

Acts Press.

Pugh, M. T. (1994). Research Methods. Nairobi: Kenyatta University, Institute of Open

Learning.

Lincoln, Y. S., and Guba, E.G. (1985) Naturalistic Inquiry. New York: SAGE.

Letherby, G (2003). Feminist Research in Theory and Practice. Philadelphia: Open University

Press.

Ngara, R. (2014). Gender and Sexuality, a Reflection on Rainmaking Songs. International

Journal of Social Sciences, 3:20-28.

Royce, A. P. (1977). The Anthropology of Dance. Bloomington: Indian University Press.

Rutsate J. (2010) Mhande Dance in the Kurova Guva Ceremony: An Enactment of Karanga

Spirituality.

Stake, R. E. (1978). The case study method in social sciences inquiry. Educational research,

7(2), 5-8.

The required spacing is 1.5 Rework this draft in accordance to the given comments and resubmit

your second draft as early as possible.

Dr J Rutsate 23/01/18

25 | P a g e