Browsing Faculty of Humanities by Subject "Zimbabwe"
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Togarasei, L. (Brill Academic Publishers, NaN, 2005)[more][less]
Abstract: The past twenty to thirty years in the history of Zimbabwean Christianity have witnessed the emergence of a new breed of Pentecostalism that tends to attract the middle and upper classes urban residents. This paper presents findings from a case study of one such movement, the Family of God church. It describes and analyses the origins, growth and development of this church as an urban modern Pentecostal movement. The first section of the paper discusses the origins and development of the church focusing on the life of the founder. The second section focuses on the teaching and practices of the church. The church’s doctrines and practices are here analysed to find out the extent to which these have been influenced by the socio-political and economic challenges in the urban areas. The paper concludes that the modern Pentecostal movement is meant to address urban needs. URI: http://hdl.handle.net/10311/598 Files in this item: 1
Togarasei_E_2005.pdf (251.2Kb) -
Omoregie, F-K. (University of Botswana, Department of English, http://www.ub.bw, NaN, 2008)[more][less]
Abstract: In this paper, I intend to support Schechner's (1988:197) argument that "to be in trance is not to be out of control", and that in trance or possession the performer does exhibit elements of acting. Schechner mentions that two processes are indentifiable in performance: the performer is either "subtracted" in a performance closely resembling the art of the shaman who acts in ecstasy or what Jerzy Grotowski calls the "holy actor", or the performer is "added to" or "doubled", according to Antonin Artaud, in the process of performing. This "doubled" actor is considered to be in trance, something Schechner likens to Constantin Stanislavski's "character actor". In defining these two phenomena and other forms of acting, my intention in this paper is to prove that the whole of Africa is a gold mine of artistic performances. I intend to prove this by analyzing the acting styles and levels in Zimbabwean traditional performances. In traditional Zimbabwean performances, acting is realized in different social functions and contexts. In the contexts of this paper, acting means to feign, to simulate, to represent, to impersonate. (E.T. Kirby 1972 3) Defining acting and instances where acting is realized. Secondly, I will show how Zimbabwean societies use these define/identified qualities in different contexts. Thirdly, I will judge the levels of acting regarding their seriousness, commitment and functions. To achieve these aims, I will analyze four categories of performances, storytelling, childrens's make-believe, rituals and ceremonies. URI: http://hdl.handle.net/10311/861 Files in this item: 1
Omoregie_MJLL_2008.pdf (4.909Mb)
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