The post-2000 period in Zimbabwe is known as the decade of the crisis because of rising poverty, hyperinflation, a collapsed economy, poor service delivery, political violence, and a myriad of problems that made the lives of the majority of Zimbabweans precarious. It was also the period of the land reform programme which the government embarked on to, among many other reasons, galvanise the ruling party’s waning political fortunes. The land reform programme was complemented by an ultra-nationalist imaginary which took the form of the 75% (later upgraded to 100%) local content policy for radio and television. The policy was meant to create cultural support for ZANU – PF’s land exercise by rejecting the cultural products of western countries. These western countries, in ZANU – PF parlance, were enemies of Zimbabwe because of their oppositional stance towards the land reform exercise. Thus, the 100% local content became a way of policing musical production to make it agree with this anti-western stance. The Urban Grooves movement of the post-2000 period emerged from this policy change and dominated Zimbabwe’s airwaves for a decade. This movement was not a musical genre per se but a mish-mash of genres comprising dancehall, soul, Afro-pop, house, hip-hop, among others. Using Zimbabwe’s hip-hop music, with special reference to the late King Pinn’s ‘I Salute You’, this paper explores how youth artists operated in post-2000 ZANUfied and Mugabeist Zimbabwe. Did their musical practices pander to the policing whims of the state? Did they, contrary to the state’s expectations, come up with alternative identities that sought to challenge the ZANUist political hegemony of their time? If youth cultures can act as conveyors of alternative phenomenological forms of social and political reality and as indicators of ideological resistance, how have Zimbabwean hip-hop artists acted as conveyors of ideological resistance?
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