This interdisciplinary study investigates the intersection of storytelling, performance, and digital media as well as how activists find voice in a hegemonic environment. It follows a repertoire of ‘digital media performers' who use social media platforms to comment on Zimbabwean issues. Shrinking political space and economic collapse, characterizing Zimbabwe over the past 20 years, affected a range of economic and social sectors. A contracting paying audience and daunting government censorship negatively impacted the country's nascent commercial theatre and film industry. Yet, the growth in new media technologies has transformed how performances are produced and delivered. A new phenomena of social media skits– short performances, scripted or unscripted, straight-to-view or edited, and digitally distributed– has emerged in Zimbabwe's online space. These performances and their platforms have become a form of ‘public sphere' where ordinary citizens converge to discuss pertinent issues. Exploring three leading performances (platforms) i.e. BustopTV, Zambezi News, and Madam Boss, and considering the history of performance in Zimbabwe, e.g. in political activism and agitation propaganda, the study probes this emergent form, unpacking its function. The study applies a constructionist ontological stance, placing emphasis on reality and meaning as a construct of those who live it rather than a set standard to abide by. Thus, performance is regarded an evolutionary being constantly shifting to address the reality of those who partake in it. Qualitative interviewing, observation, and qualitative content analysis are used to explore the motivations behind these performances and the practical considerations related to their form and function. Using an eclectic theoretical framework; theater and performance–with a focus on Boal's tradition; hegemony and subaltern (in Gramscian and post-colonialism sense); and digital activism, the paper explores how the restrictive political environment influenced the shift in medium. The study argues that reflexivity of performance aids to sense-making and advances counterhegemonic discourse for those on the margins of society and power.
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