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Pedzisai Maedza

Biographic Data

ID1250635
NAMEPedzisai Maedza
GIVEN NAMESPedzisai
FAMILY NAMEMaedza
SIGNATUREMAEDZA P
AFFILIATIONSUniversity of Cape Town
ORCID0000-0001-6980-3272
VERIFIEDYes
TOTAL WORKS8
TOTAL CITATIONS7
AUTHOR COUNT8
EDITOR COUNT0
FIRST PUBLICATION YEAR2017
LATEST PUBLICATION YEAR2024
H-INDEX2
  • ‘People Died There Like Flies that Had Been Poisoned’

    Open Access•Pedzisai Maedza•CHAPTER•Remembering Mass Atrocities in…•2024

  • Santa’s Story

    Pedzisai Maedza•ARTICLE•South African Theatre Journal•2022

    This account uses performance and critical analysis to investigate the entangled histories and multidirectional memories that entwine African colonialism and the Holocaust in Santa’s Story by Aviva Pelham. The paper spotlights the intersections between the memory of the Holocaust and colonial Africa by focussing on the memory of women survivors and children of survivors on the African continent. Drawing on Marianne Hirsch’s notion of ‘postmemory’…

  • Sold

    Pedzisai Maedza•ARTICLE•TDR/The Drama Review•2019

    Themba Mbuli's SOLD! integrates differently abled dancers in a performance that remembers the 1904–08 Namibian genocide. SOLD! pays homage to four unnamed women and a young boy whose mortal remains were among the first skulls repatriated from Berlin to Windhoek in 2011, as it animates the excesses of colonial officials who obtained body parts for use in eugenics, phrenology, and other racial-hygiene sciences

  • Sarafina

    Pedzisai Maedza•ARTICLE•South African Theatre Journal•2019

    On 16 June 1976 an estimated 20,000 black students took to the streets of Soweto, South Africa in protest against the mandatory use of Afrikaans in all segregated schools. Apartheid police responded to the protest march with unrestrained brutal violence, firing live rounds of ammunition at the unarmed school children. This police intervention left thousands injured and 176 people dead. Using Mbongeni Ngema’s Sarafina!: The Sounds of Liberation (1…

  • Third Time Lucky

    Pedzisai Maedza•ARTICLE•Popular Music & Society•2019•References: 5

    In 2010 South African band Freshlyground produced a satirical music video critical of Zimbabwean President Robert Mugabe’s 30-year long tyrannical rule titled “Chicken to Change.” For eight years after the song’s release, the band was barred from Zimbabwe. Using Ngugi wa Thiongo’s “enactments of power” concept and Michel Foucault’s insights on censorship, this account investigates the cross–border and esthetic censorship dynamics that prevented t…

  • Gukurahundi - a moment of madness

    Pedzisai Maedza•ARTICLE•African Identities•2019•Cited by: 3•References: 17

    Between 1982 and 1987 the Zimbabwean government deployed a North Korean trained military unit, the Fifth Brigade into the Midlands and South Western regions of the country in an operation code-named Gukurahundi (the first flash floods that cleanse the riverbeds of all debris and chaff before the spring rains). By the time the unit’s operations were halted, an estimated 20,000 mostly ethnic Ndebele and Kalanga speaking civilians were dead, with ma…

  • The Line

    Pedzisai Maedza•ARTICLE•South African Theatre Journal•2018

    This article analyses Gina Shmukler’s verbatim play The Line (2012) and argues for another look at the testimonies captured from witnesses, survivors and perpetrators of the violence targeting foreign and perceived as foreign persons in South Africa that escalated in 2008 and in 2015. It is a narrative analysis of the play that uses Gregory H. Stanton’s Ten Stages of Genocide model and the United Nations Convention on Genocide to investigate the …

  • Mai VaDhikondo

    Pedzisai Maedza•ARTICLE•Social Dynamics•2017•Cited by: 4•References: 15

    This account departs from the focus and consensus on the centrality of song in pungwes for mass mobilisation during Zimbabwe’s war for independence. It traces the less commented upon dystopian continuities between the usage of pungwe during the liberation war and the gukurahundi (1982–1987). It suggests that music is a mnemonic device through which experience is narrated, facilitating the storage, transfer and remembering of memory. It uses the s…

  • Mai VaDhikondo

    Pedzisai Maedza•ARTICLE•Social Dynamics•2017•Cited by: 4•References: 15

    This account departs from the focus and consensus on the centrality of song in pungwes for mass mobilisation during Zimbabwe’s war for independence. It traces the less commented upon dystopian continuities between the usage of pungwe during the liberation war and the gukurahundi (1982–1987). It suggests that music is a mnemonic device through which experience is narrated, facilitating the storage, transfer and remembering of memory. It uses the s…

  • Gukurahundi - a moment of madness

    Pedzisai Maedza•ARTICLE•African Identities•2019•Cited by: 3•References: 17

    Between 1982 and 1987 the Zimbabwean government deployed a North Korean trained military unit, the Fifth Brigade into the Midlands and South Western regions of the country in an operation code-named Gukurahundi (the first flash floods that cleanse the riverbeds of all debris and chaff before the spring rains). By the time the unit’s operations were halted, an estimated 20,000 mostly ethnic Ndebele and Kalanga speaking civilians were dead, with ma…

  • Mai VaDhikondo

    Pedzisai Maedza•ARTICLE•Social Dynamics•2017•Cited by: 4•References: 15

    This account departs from the focus and consensus on the centrality of song in pungwes for mass mobilisation during Zimbabwe’s war for independence. It traces the less commented upon dystopian continuities between the usage of pungwe during the liberation war and the gukurahundi (1982–1987). It suggests that music is a mnemonic device through which experience is narrated, facilitating the storage, transfer and remembering of memory. It uses the s…

  • The Line

    Pedzisai Maedza•ARTICLE•South African Theatre Journal•2018

    This article analyses Gina Shmukler’s verbatim play The Line (2012) and argues for another look at the testimonies captured from witnesses, survivors and perpetrators of the violence targeting foreign and perceived as foreign persons in South Africa that escalated in 2008 and in 2015. It is a narrative analysis of the play that uses Gregory H. Stanton’s Ten Stages of Genocide model and the United Nations Convention on Genocide to investigate the …

  • Sold

    Pedzisai Maedza•ARTICLE•TDR/The Drama Review•2019

    Themba Mbuli's SOLD! integrates differently abled dancers in a performance that remembers the 1904–08 Namibian genocide. SOLD! pays homage to four unnamed women and a young boy whose mortal remains were among the first skulls repatriated from Berlin to Windhoek in 2011, as it animates the excesses of colonial officials who obtained body parts for use in eugenics, phrenology, and other racial-hygiene sciences

  • Sarafina

    Pedzisai Maedza•ARTICLE•South African Theatre Journal•2019

    On 16 June 1976 an estimated 20,000 black students took to the streets of Soweto, South Africa in protest against the mandatory use of Afrikaans in all segregated schools. Apartheid police responded to the protest march with unrestrained brutal violence, firing live rounds of ammunition at the unarmed school children. This police intervention left thousands injured and 176 people dead. Using Mbongeni Ngema’s Sarafina!: The Sounds of Liberation (1…

  • Third Time Lucky

    Pedzisai Maedza•ARTICLE•Popular Music & Society•2019•References: 5

    In 2010 South African band Freshlyground produced a satirical music video critical of Zimbabwean President Robert Mugabe’s 30-year long tyrannical rule titled “Chicken to Change.” For eight years after the song’s release, the band was barred from Zimbabwe. Using Ngugi wa Thiongo’s “enactments of power” concept and Michel Foucault’s insights on censorship, this account investigates the cross–border and esthetic censorship dynamics that prevented t…

  • Gukurahundi - a moment of madness

    Pedzisai Maedza•ARTICLE•African Identities•2019•Cited by: 3•References: 17

    Between 1982 and 1987 the Zimbabwean government deployed a North Korean trained military unit, the Fifth Brigade into the Midlands and South Western regions of the country in an operation code-named Gukurahundi (the first flash floods that cleanse the riverbeds of all debris and chaff before the spring rains). By the time the unit’s operations were halted, an estimated 20,000 mostly ethnic Ndebele and Kalanga speaking civilians were dead, with ma…

  • Santa’s Story

    Pedzisai Maedza•ARTICLE•South African Theatre Journal•2022

    This account uses performance and critical analysis to investigate the entangled histories and multidirectional memories that entwine African colonialism and the Holocaust in Santa’s Story by Aviva Pelham. The paper spotlights the intersections between the memory of the Holocaust and colonial Africa by focussing on the memory of women survivors and children of survivors on the African continent. Drawing on Marianne Hirsch’s notion of ‘postmemory’…

  • ‘People Died There Like Flies that Had Been Poisoned’

    Open Access•Pedzisai Maedza•CHAPTER•Remembering Mass Atrocities in…•2024

History (7 works) · Law (6 works) · Political science (6 works) · Art (5 works) · Sociology (5 works) · African history and culture studies (4 works) · African studies and sociopolitical issues (4 works) · Art history (3 works) · Colonialism (3 works) · Criminology (3 works)

Ethnos_APP • Open Source Project • MIT License • Frontend v2.0.0 • Privacy and Cookies • API Documentation: api.ethnos.app/docs • API Source Code: GitHub • DOI: 10.5281/zenodo.17049435 • Frontend Source Code: GitHub • DOI: 10.5281/zenodo.17050053 • cruz.rio.br • Expectantes Misericordiae