Censorship and the Cultural Ambiguities of Singing against Authoritarianism in Zimbabwe: The Case of Winky D’s Popular Music

In Zimbabwe, popular music, namely the dancehall music genre, has become a cultural site where official forces of political repression and libertarian voices of subalterns desiring indepen dence clash in a relationship plagued with censorship. In this setting, singing against the danger of silence imposed by political authoritarianism develops libertarian tales whose implications go beyond resistance or cultural obedience. The nature and political consequences of the concerns and cultural ambiguities that emerge in Winky D’s musical lyrics in several of his well-known popular songs are examined in this article. The essay shows how official censorship may popularise a musician’s songs in ways that are unforeseen by the artist and create identities defined by cultural ambivalences that may identify the performer as both hero and underdog/villain. This paper uses purposive sampling for textual and content analysis to highlight the symbolic and cultural instability in song narratives. The qualitative technique underpins both textual and content analysis. Its relevance stems from the fact that it emphasises the multiplicity of cultural subjectivities. This viewpoint is informed by postcolonial theory, which recognises the ability of new cultural voices and identities to split the grip imposed by censorship. Alternative or non-officially sanctioned locations for popular music can be used to ventilate its ideals.