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  • Format: ePub

This book brings together scholars from diverse backgrounds to provide interdisciplinary perspectives on national healing, integration and reconciliation in Zimbabwe. It will be of interest to scholars of African Studies, conflict and reconciliation, and development studies.

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Produktbeschreibung
This book brings together scholars from diverse backgrounds to provide interdisciplinary perspectives on national healing, integration and reconciliation in Zimbabwe. It will be of interest to scholars of African Studies, conflict and reconciliation, and development studies.


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Autorenporträt
Ezra Chitando serves as a professor in the Department of Religious Studies, Classics, and Philosophy at the University of Zimbabwe and a theology consultant on HIV and AIDS for the World Council of Churches. He has published extensively on religion and HIV, gender, masculinity, politics, and methodology. Kelvin Chikonzo is a senior lecturer who has researched intensively on protest theatre in Zimbabwe. He is interested in studying various aspects of democracy protest theatre as a way of ensuring that protest theatre does not replicate the oppression that it purports to fight against in terms of multivocalism, mediation of agency and liberating the spectator. Nehemiah Chivandikwa is an Associate Professor at the University of Zimbabwe. He teaches theatre and development communication and applied media technologies. His research interests are in performance and body politics, gender, disability, applied theatre performances and media. He has published several articles in both regional and international journals in these areas. Prof Chivandikwa has been involved in several projects in applied theatre on gender, political violence, disability and rural and urban development. His latest 2017 publications are: 'Subverting Ableist Discourse as an Exercise in Precarity' in the Journal of Applied Theatre and Performance, 35(3):pp.61-75 and 'Political-Ethical Approach to Disability in Theatre for Development Context' in Applied Theatre Research , 5(2):83-97.