ABSTRACT Zimbabwe’s protracted anti-Euro-American imperialist rhetoric and subsequent draconian policies that imposed a 100 per cent local content on national radio and television birthed a particular type of popular urban youth music genre (urban grooves), which has radically transformed the urban public sphere in the country. In this article, I examine the music and lyrics of one prominent gospel urban grooves artist—Mudiwa “Hood” Mutandwa. I particularly analyse the complex intersections of his musical discourse with prosperity gospel dogma propagated in contemporary Pentecostal Charismatic Churches (PCCs). Mudiwa’s musical discourse resonates with prosperity gospel ideologies propagated in the emergent and popular PCCs in Zimbabwe. Mudiwa’s music not only creates, but also reinforces a consumerist and materialist culture amongst the urban youth in Harare. Although Mudiwa’s musical discourse runs counter to the grim economic realities on the ground, it enables the deprived urban youth to symbolically make sense of their nostalgic and yet elusive aspirations of being wealthy in an economic and political crisis symptomatic of a postcolonial state.

中文翻译：

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唱歌的积极性：津巴布韦流行的青年嘻哈福音音乐话语中的繁荣福音

摘要津巴布韦旷日持久的反美帝国主义言论和随后的严厉政策，将国家广播电视上100％的本地内容强加于人，产生了一种特殊的城市青年音乐流派（城市风向标），从根本上改变了城市公共领域在国内。在本文中，我研究了一位著名的福音城市凹槽艺术家Mudiwa“ Hood” Mutandwa的音乐和歌词。我特别分析了他的音乐话语与在现代五旬节魅力教堂（PCC）中传播的繁荣福音教条的复杂交集。穆迪瓦的音乐话语与在津巴布韦新兴和流行的PCC中传播的繁荣福音思想共鸣。穆迪瓦的音乐不仅创造，但同时也增强了哈拉雷（Harare）城市青年的消费主义和物质主义文化。尽管穆迪瓦（Mudiwa）的音乐话语与当地严峻的经济现实背道而驰，但它使被剥夺的城市青年能够象征性地理解他们对富裕的怀旧而难以捉摸的渴望，这种渴望是在后殖民时期国家的经济和政治危机中实现的。