Focusing on political trials in Zimbabwe's Magistrates' Courts between 2000 and 2012, Susanne Verheul explores why the judiciary have remained a central site of contestation in post-independence Zimbabwe. Drawing on rich court observations and in-depth interviews, this book foregrounds law's potential to reproduce or transform social and political power through the narrative, material, and sensory dimensions of courtroom performances. Instead of viewing appeals to law as acts of resistance by marginalised orders for inclusion in dominant modes of rule, Susanne Verheul argues that it was not recognition by but of this formal, rule-bound ordering, and the form of citizenship it stood for, that was at stake in performative legal engagements. In this manner, law was much more than a mere instrument. Law was a site in which competing conceptions of political authority were given expression, and in which people's understandings of themselves as citizens were formed and performed.

In this new history of music in Zimbabwe, Mhoze Chikowero deftly uses African sources to interrogate the copious colonial archive, reading it as a confessional voice along and against the grain to write a complex history of music, colonialism, and African self-liberation. Chikowero's book begins in the 1890s with missionary crusades against African performative cultures and African students being inducted into mission bands, which contextualize the music of segregated urban and mining company dance halls in the 1930s, and he builds genealogies of the Chimurenga music later popularized by guerrilla artists like Dorothy Masuku, Zexie Manatsa, Thomas Mapfumo, and others in the 1970s. Chikowero shows how Africans deployed their music and indigenous knowledge systems to fight for their freedom from British colonial domination and to assert their cultural sovereignty.

Focusing on political trials in Zimbabwe's Magistrates' Courts between 2000 and 2012, Susanne Verheul explores why the judiciary have remained a central site of contestation in post-independence Zimbabwe. Drawing on rich court observations and in-depth interviews, this book foregrounds law's potential to reproduce or transform social and political power through the narrative, material, and sensory dimensions of courtroom performances. Instead of viewing appeals to law as acts of resistance by marginalised orders for inclusion in dominant modes of rule, Susanne Verheul argues that it was not recognition by but of this formal, rule-bound ordering, and the form of citizenship it stood for, that was at stake in performative legal engagements. In this manner, law was much more than a mere instrument. Law was a site in which competing conceptions of political authority were given expression, and in which people's understandings of themselves as citizens were formed and performed.

Zimbabwe¿s July 2013 election brought the country¿s ¿inclusive¿ power-sharing interlude to an end and installed Mugabe and ZANU-PF for yet another¿its seventh¿term. Why? What explains the resilience of authoritarian rule in Zimbabwe? Tracing the country¿s elusive search for political stability across the decades, Michael Bratton offers a careful analysis of the failed power-sharing experiment, an account of its institutional origins, and an explanation of its demise. In the process, he explores key challenges of political transition: constitution making, elections, security-sector reform, and transitional justice.

This collection of essays documents, conceptualises and theorises the ways in which Zimbabwean, in particular, and African practitioners, in general, creatively work and perform in contemporary Africa. It serves to consolidate the ways in which Zimbabwean and African performance is made and understood by Zimbabwean practitioners and theorists. The book examines this emergent, dynamic performance movement which transforms performances into acts of reflection, engagement, and/or discussion between the performer and spectator through various creative performative avenues, such as interjections, call and response, singing, clapping and use of communally identifiable everyday objects in design, which affirm and fuse the actors and spectators together. Finally, this book exposes the dominant exclusivity and Anglocentrism in critical pedagogies of performance in Zimbabwe through problematizing the “taken-for-grantedness” of the accepted ways in which performance and theory have been conceptualised.

As the demand for efficient energy sources continues to grow, electrical systems are becoming more essential to meet these increased needs. Electrical generation and transmission plans must remain cost-effective, reliable, and flexible for further future expansion. As these systems are being utilized more frequently, it becomes imperative to find ways of optimizing their overall function. Novel Advancements in Electrical Power Planning and Performance is an essential reference source that provides vital research on the specific challenges, issues, strategies, and solutions that are associated with electrical transmission and distribution systems and features emergent methods and research in the systemic and strategic planning of energy usage. Featuring research on topics such as probabilistic modeling, voltage stability, and radial distribution, this book is ideally designed for electrical engineers, practitioners, power plant managers, investors, industry professionals, researchers, academicians, and students seeking coverage on the methods and profitability of electrical expansion planning.

Trends in Twenty-First Century African Theatre and Performance is a collection of regionally focused articles on African theatre and performance. The volume provides a broad exploration of the current state of African theatre and performance and considers the directions they are taking in the 21st Century. It contains sections on current trends in theatre and performance studies, on applied/community theatre and on playwrights. The chapters have evolved out of a working group process, in which papers were submitted to peer-group scrutiny over a period of four years, at four international conferences. The book will be particularly useful as a key text for undergraduate and postgraduate courses in non-western theatre and performance (where this includes African theatre and performance), and would be a very useful resource for theatre scholars and anyone interested in African performance forms and cultures.

"This book is about southern Africa's long walk to freedom, about the overturning of colonial rule in the northern territories and the dissolution of backs-to-the-wall white settler suzerainty first in what became Zimbabwe and then in South Africa. Chapters on the individual countries detail the stages along their sometimes complicated and tortuous struggle to attain the political New Zion. We learn how and why the Federation of Rhodesia and Nyasaland failed, how and why apartheid eventually collapsed, and exactly how the various components of this heavily white conquered and later white oppressed domain transitioned via diverse fits and starts into today's assemblage of proud, politically-charged, and still mostly fragmented nation-states. But what did the new republics make of their hard won freedoms? That is the subject of more than half of this book. Having liberated themselves successfully, several soon dismantled democratic safeguards, established effective single-party states, closed their economies, deprived citizens of human rights and civil liberties, and exchanged economic progress for varieties of central planning experiments and stunted forms of protected economic endeavors. Only Botswana, of the new entities, embraced full democracy and good governance. The others, even South Africa, at first tightly regimented their economies and attempted severely to limit the degrees of economic freedom and social progress that citizens could enjoy. Corruption prevailed everywhere except Botswana. Today, as the chapters on contemporary southern Africa reveal, most of the southern half of the African continent is returning, if sometimes struggling, to return to the patterns probity and good governance that many countries abandoned in the decades after independence. Now there is a resurgence of high performance, which this book celebrates"--

This two-volume set charts a cross-disciplinary discursive terrain that proffers rich insights about deceit in contemporary postcolonial Sub-Saharan African politics. In an attempt to produce a nuanced and multifaceted academic dialoguing platform, the two volumes have a particular focus on the aspects of treachery, fear of difference (oppositional politics), and discourses/semiotics of mis/self-representation. The major aim of the proposed volumes is to contribute toward the often problematised conversations about the unfolding (post)colonial Sub-Saharan world which is topical in decolonial and Pan-African studies.The volumes seek to place political thinking and postcolonial political systems under the scholarly gaze with the view to highlight and enhance the participation of African cross-disciplinary scholarship in the postcolonial political processes of the continent. Most significantly, it is through such probing of the limitations of our own disciplinary perspectives which can help us appreciate the complexity of the postcolonial Sub-Saharan African politics. The first volume uses Zimbabwe as a case study, while the second volume examines postcolonial politics in Sub-Saharan Africa more broadly.The first volume uses Zimbabwe as a case study, while the second volume examines postcolonial politics in Sub-Saharan Africa more broadly.The first volume uses Zimbabwe as a case study, while the second volume examines postcolonial politics in Sub-Saharan Africa more broadly.

Cutting across countries, genres, and time periods, this volume explores topics ranging from hip hop’s influence on Maasai identity in current day Tanzania to jazz in Bulawayo during the interwar years, using music to tell a larger story about the cultures and societies of Africa.