Wellington Jonga

Self

To project some ethics and challenges of project management

Abstract This book focuses on how traditional music was and is used in governance by the Shona. It was an outcome of nostalgia. The olden days were creative and systems like culture and clan administration were tight, solid but democratic. Democratic in the sense that the community members were economically the same and politically there were interdependent. Thus governance was collaborative and also participatory. Traditional music was used in various circumstance or events. The music ranged from ‘jiti’, ‘ngondo’, ‘dandanda’, ‘mbira’, church, ‘chidzimba’, ‘shangara’ to those that were personal and meant to raise hope or emotions in individuals. The music had the function of motivation, articulating bad and good behaviours, presenting feelings, portraying admiration, love or hate, instilling courage or need to hard work, creating a specific environment and it released nostalgia. It revives the importance of culture in a country whose citizens have been economically and socially colonized by Western cultures. The young people today have scorned and marooned their culture and unselectively acquired Western values. It was and it is still random be socialization. There is no voice or promotion of what could be the Zimbabwean culture. Those interested are weak in marketing critical values and beliefs and they are limited by the scarcity of resources. The rapid urbanization of people in Zimbabwe and also the increased migration from rural areas into towns and cities has created havoc in the communities where the so-called modernized young people have forsaken and condemned ancestors and tradition together with its value and beliefs. The attempts to promote culture through primary and secondary schools have produced limited results. The focus is magnificent but the resources are limited. During cultural lessons pupils always or repeated perform muchongoyo and jerusarema as if to say every province or different groups in Zimbabwe developed and inherited these. Cultural songs are diverse to say the least. Limitations of teachers and trainers in colleges have produced this halo effect. Systematic studies and encouragement of diverse cultural activities in schools are a necessity if children are to respond positively or to generate interest to follow cultural values and beliefs. This book becomes handy is arousing one element of the Zimbabwean culture. It also connects the songs to modern philosophies and theories of governance. The decay of cultural ethics could be a significant element in the whole circus of increased corruption in the country. If fully developed the idea in this book could lead to development of short drama or films centred on the songs. The drama stories could be integrated into the curriculum to promote diverse cultural activities. If this is achieved Zimbabwe could become one but enjoying a revolution in its cultural values, beliefs and handling. Tradition totally discouraged bad behaviours and the principles that our people understand could easily be used to develop a powerful modern system of governance. This book is not meant to be exhaustive. Users can extend their imaginations to make its use interesting. In future you and I may expand the knowledge on traditional philosophies to live behind a useful heritage for the next generation. A codification of these songs in the form of a dictionary could be done and will be an interesting experience.