Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war

Guerrilla movements in the Third World often espouse anti-Western ideologies. Many Zimbabwean guerrillas in the Zimbabwean liberation war (1966–79) took up noms de guerre that expressed this. However, a number of them took up names from cultural forms that represented the very enemy that they were f...

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Main Author: Pfukwa, Charles
Format: Article
Language:English
Published: Routledge 2021
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Online Access:https://doi.org/10.1080/18125980802298641
https://www.tandfonline.com/doi/abs/10.1080/18125980802298641
http://hdl.handle.net/11408/4213
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author Pfukwa, Charles
author_facet Pfukwa, Charles
author_sort Pfukwa, Charles
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description Guerrilla movements in the Third World often espouse anti-Western ideologies. Many Zimbabwean guerrillas in the Zimbabwean liberation war (1966–79) took up noms de guerre that expressed this. However, a number of them took up names from cultural forms that represented the very enemy that they were fighting against; such as the names drawn from motion pictures, popular music and pop art of the time. This is one of the greatest ironies of a conflict where the guerrillas were trying to redefine themselves politically, socially and culturally, and yet they took the names of their adversaries. This paper explores some of these war names that were drawn from western cultural forms and religion. The paper will argue that the nickname as an onomastic category often is a subtle expression of the social, cultural and political environment of the bearer.
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spelling ir-11408-42132022-06-27T13:49:06Z Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war Pfukwa, Charles Nom de guerre Popular music Popular culture Motion pictures Contrasting names Guerrilla movements in the Third World often espouse anti-Western ideologies. Many Zimbabwean guerrillas in the Zimbabwean liberation war (1966–79) took up noms de guerre that expressed this. However, a number of them took up names from cultural forms that represented the very enemy that they were fighting against; such as the names drawn from motion pictures, popular music and pop art of the time. This is one of the greatest ironies of a conflict where the guerrillas were trying to redefine themselves politically, socially and culturally, and yet they took the names of their adversaries. This paper explores some of these war names that were drawn from western cultural forms and religion. The paper will argue that the nickname as an onomastic category often is a subtle expression of the social, cultural and political environment of the bearer. 2021-05-20T10:03:41Z 2021-05-20T10:03:41Z 2007 Article 1812-5980 1753-593X https://doi.org/10.1080/18125980802298641 https://www.tandfonline.com/doi/abs/10.1080/18125980802298641 http://hdl.handle.net/11408/4213 en Muziki Journal of Music Research in Africa;Vol. 4; No. 2: p. 237-246 open Routledge
spellingShingle Nom de guerre
Popular music
Popular culture
Motion pictures
Contrasting names
Pfukwa, Charles
Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war
title Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war
title_full Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war
title_fullStr Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war
title_full_unstemmed Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war
title_short Popular music and the construction of noms de guerre in Zimbabwe's Guerrilla war
title_sort popular music and the construction of noms de guerre in zimbabwe's guerrilla war
topic Nom de guerre
Popular music
Popular culture
Motion pictures
Contrasting names
url https://doi.org/10.1080/18125980802298641
https://www.tandfonline.com/doi/abs/10.1080/18125980802298641
http://hdl.handle.net/11408/4213
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