Contrasting discourses of emancipation and empowerment in selected albums by Hosiah Chipanga and Fungisai Zvakavapano.

The choice of the two contemporary gospel musicians, Hosiah Chipanga and Fungisai Zvakavapano-Mashavave (hereafter referred to simply as Fungisai), emanates from a desire to critique the discourses of emancipation in gospel music from a sociological perspective in Zimbabwe's crippling context. The idea is to have some contrasting discourses from a male and female perspective and critique how the two musicians deal with the internally and externally induced challenges confronting the young nation of Zimbabwe. The two singers both hail from the eastern border town of Mutare. While Chipanga claims to be a Christian prophet, Fungisai's music has its basis in the scriptural passages from the Bible that singers are routinely using to make sense of the challenges facing Zimbabweans today. The article therefore seeks to reveal and critique how the two singers have risen to the challenge of inspiring and empowering their audiences to appropriate pragmatic strategies so that people may survive to salvage something of value from an already threatened existence. The prominence of the two musicians has also been heightened by their participation at the national all-inclusive music galas, such as the Independence and Heroes Splush galas, which have been held annually from about 2000 to commemorate and celebrate Zimbabwe's milestones. Significantly, the singers are gospel musicians who appear to be participating in secular ceremonies in an effort to raise their audiences' consciousness about personal emancipation and empowerment, instead of just dwelling on spiritual salvation. Their music is designed to capture the defining moments in the unfolding sociopolitical life of the Zimbabwean nation. Because of their active involvement in and prominence at these national music shows, one may suggest that Hosiah Chipanga and Fungisai's music provides some critical interrogation of the social fabric of Zimbabwe's national and cultural formations. [ABSTRACT FROM AUTHOR]