This research is my story as a Shona folklorist and creative writer, but it is also the story of the Shona people. It is a story of how I am “a child” of storytelling, and how the stories that raised me got appropriated and incorporated into the colonial school system where they converged and mixed with western forms of storytelling to create hybrids. As a storyteller I use autoethnography – which offers an insider’s perspective - to interpret and explain, to reflect and analyse the art of storytelling in my culture. The alienation of indigenous knowledge and cultural practices – specifically storytelling, is what necessitates the use of autoethnography for this study. Autoethnography is a qualitative research method of writing and storytelling where the researcher is the subject and the researcher's experiences are the data. I, being a Shona storyteller and creative writer, will systematically journey back and analyse personal experiences in order to make sense of the Shona people’s cultural experiences. The research process will see me running away from depending on other people’s records about my people’s cultural history. Instead, I traverse back in time to consult and extract a theory from the Shona song called Chemutengure from around 1890 that tells the story of British colonisation from the perspective of the colonised. I theorise and explain Chemutengure’s pedagogical and epistemological significance in critiquing the plight of Africans suffering contact-induced change. I apply the Chemutengure theory to folktales, books, songs, paradigms and other agents that played an active role in producing new forms of storytelling and worldviews. Autoethnography is a type of research method that blends engaging creative writing and analysis of cultural experiences. It opens doors of research to the subalterns who are usually shut out by research that is done in universities. “Rather than producing esoteric, jargon-laden texts, many auto-ethnographers recognize a need to speak also to nonacademic audiences,” (Adams et al, 2015: 42) employing narrative and story-telling to give meaning to identities, relationships, and experiences, and to create relationships between past and present, researchers and participants, writers and readers, tellers and audiences, (Adams et al, 2015:23). This research will not exhaust all that needs to be explored and said about Shona folktales, creativity and culture, or its literature and the many cultural aspects it looks at. Rather, it seeks to highlight, decolonize and deconstruct colonial mentalities, while emancipating the Shona worldview that has been put on leash by colonialism and western capitalistic tendencies. The study also looks at positive change that occurs when cultures inform one another, but without turning a blind eye to the lack of mutuality and how the logic of capitalism has left Africa hemorrhaging ideologically. Drawing from personal experiences when I listened to my grandmother’s stories, the study looks at the influence of folktales on my creative writing career. I reflect on my experiences as a Fulbright Scholar, as well as my Canadian experiences as storyteller and writer-in-residence at the University of Manitoba. Besides analysing stories written by missionaries in early Shona school readers, I also discuss folktales published in the Native Affairs Department Annual (NADA); the folktales performed as songs; the comic tales published by the Literature Bureau; tales developed for private institutions, government and non-governmental organisations; stories on radio, Twitter and many other forms. Besides giving the subaltern a voice, this research attempts to artistically demonstrate the power and versatility of the Shona folktale, as well as the genre’s potential for growth and development. Chapter 1 introduces the autoethngraphy method as well as what I hope to achieve through the methodology and style of writing. Chapter 2 is a conversation between a representative of the colonised and Cecil John Rhodes the imperialist. Besides pointing out imperialism’s damage to indigenous identities, the chapter discusses how Africa and Europe’s paradigms are diametrically conflicting. Chapter 3 introduces, explains and analyses the song/theory Chemutengure, and how it applies to the condition of the native in postcolonial Africa today. Chapter 4 tracks the trajectory of foreign tales in Zimbabwe, and how they influenced native folktales. The response of local tales is also critiqued. Chapter 5 looks at the milestones in the structural transformation of indigenous folktales, and how they were appropriated and hitched a ride in the wagon of change. Chapter 6 is a reflection on the impact of westernisation and globalisation in the lives of Africans, and how confused the native has become without his cultural anchor. Chapter 7 concludes by acknowledging the inevitability of change, and suggests how cultural practices and perspectives must respond to social change so as to remain relevant.
O autoetnografii dotknięć, zranień i odkształceń
