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“…The paper critically analyses Shona traditional performances and creative art among the Shona people. It proceeds from the argument that some scholars have argued that drama has its origins from traditional rituals. …”
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Subjects: “…Shona people…”
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“…Shona idioms arc part of Shona people’s lingo-cultural heritage. They arc a reservoir of Shona people’s perception of reality and general world outlook. …”
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“…Furthermore, the article maintains that Shona people have a philosophy of life in which subjecthood, struggle and optimism are held sacred. …”
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“…The Shona people are also exhorted to appreciate traditional medicine because healing was there even before the colonialists came.…”
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“…The findings indicated that the Shona people express rhythm, and personal feelings through work experiences and ceremonies. …”
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“…More so, the study argues that Shona people must appreciate and celebrate their African philosophies of life and culture. …”
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“…Their use in some modern plays reflect that despite time which has been overtaken by events but people still value their culture as it was a way of Shona people' philosophy.…”
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“…This article attempts to make sense of vulgarity in the musical genre against the knowledge that, although vulgarity is obnoxious in the public sphere, it is functional in specific contexts among the Shona people of Zimbabwe. Deploying a theoretical gaze that is grounded in concepts of indigenous knowledge systems, aesthetics of vulgarity and subalternity, the article grapples with Zimdancehall artists’ pursuit of creative power and recognition through unorthodox use of vulgar lyrics. …”
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“…In its limitedness, the writing insinuates that all Shona people were involved, and therefore should be made to account for Gukurahundi atrocities. …”

“…The paper is concerned with the socio-political and cultural dimensions of the new hegemonic tendencies in the world’s global affairs, which pose serious challenges to African social sciences.It further discusses how the Shona perceive African metaphysics in the face of modernity global challenges and how they represent the interface of the three traditions namely: science, Christianity and African traditional culture. The Shona people being Africans represent the voice of Africans as a whole and Shona culture in particular. …”
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“…The songs advance a lyrical agenda which contours musha (home) as a major performance space among the Shona people in which the man, woman and child are judged on the basis of their ability to contribute and participate responsibly. …”
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“…The writer concludes that the origins of this type of folktale, which is not found in the tales of the other Shona people of whom the Ndau were part up to 2013, is to be sought in the history and existential circumstances of the Ndau people themselves. …”
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“…The symbolism is drawn from the Shona people’s lived and livable experiences.…”
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“…Theoretical literature suggests that although Tsika is a cultural ideal for all Shona people, it is especially expected of women and children, and that women can be punished like children if they lack Tsika. …”
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“…It is important to take note that the analysis focuses on the Shona people of Zimbabwe as reflected in the songs. The article argues that Alick Macheso’s songs here selected bring out family agency as informed by the circumstances and experiences from the community in which they evolve.…”
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“…We use mainly the Shona people of Zimbabwe to avoid the challenges of variations that characterize the spiritual landscape of the indigenous Africans.…”
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