The Zimbabwean writers Catherine Buckle and Nyaradzo Mtizira reimagine kongonya dance in their works Beyond Tears: Zimbabwe's Tragedy (2002) and The Chimurenga Protocol (2008), respectively. Both the European-born Buckle and the black Zimbabwean Mtizira harness the dance to evoke the post-2000 jambanja experiences associated with Zimbabwe's controversial “Third Chimurenga,” or the fast-track land reform program, beginning in 2000. Their contrasting depictions of dance epitomize the differing views on Zimbabwe's land reform program. Largely, whereas Buckle's novel is a memoir which personalizes a farmer's encounters with dancing African/Zimbabwean “land invaders,” Mtizira's is a panegyric that collectively reimagines a nation's defiant revolution against purported forces of Western imperialism. Both writers’ representations of the post-2000 Zimbabwe's dance performances are therefore colored and compromised by racial subjectivity.

中文翻译：

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通过 Kongonya 解读津巴布韦的第三个 Chimurenga：Buckle 的《超越眼泪：津巴布韦的悲剧》和 Mtizira 的 Chimurenga 协议中 2000 年后津巴布韦舞蹈的表现

津巴布韦作家 Catherine Buckle 和 Nyaradzo Mtizira 在他们的作品中重新构想了孔戈尼亚舞超越眼泪：津巴布韦的悲剧（2002）和奇穆伦加协议（2008），分别。出生于欧洲的 Buckle 和黑人津巴布韦的 Mtizira 都利用这种舞蹈来唤起 2000 年后的詹巴尼亚从 2000 年开始，津巴布韦备受争议的“第三次 Chimurenga”或快速土地改革计划相关的经历。他们对舞蹈的对比描述体现了对津巴布韦土地改革计划的不同看法。在很大程度上，虽然巴克尔的小说是一部回忆录，描述了一个农民与跳舞的非洲/津巴布韦“土地入侵者”的相遇，但姆蒂齐拉的小说是一部赞美诗，它集体地重新构想了一个国家对西方帝国主义势力的反抗革命。因此，两位作家对 2000 年后津巴布韦舞蹈表演的描述都受到种族主观性的影响和影响。