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This article analyzes representations of the Zimbabwean jikinya dance myth by Geoffrey Ndhlala in the novel Jikinya and Musaemura Zimunya in the poetry anthology Kingfisher, Jikinya and other poems. It examines the different social and historical settings considered in Ndhlala's Jikinya (pre-colonial Zimbabwe) and Zimunya's "Jikinya" (Dancer) and "Jikinya" (An African Passion) (the colonial period of the 1970s Zimbabwean anti-colonial war), and discusses how both texts attempt at describing the aesthetics of the jikinya dance and reinterpret Zimbabwe's pre-colonial and colonial culture and politics. Of significance, however, is that, being aware of the fact that the nature and significance of dance representations in these texts has received less attention, we analyze the way both writers handle Zimbabwean jikinya in colonial contexts. As a result, we argue in this article that although both authors struggle to portray a clear picture of what the dance really is to the reader, they are able to portray the significance of the jikinya myth and dance in the construction of the nation's memories and the mapping of the ongoing social experiences and political contestations encountered during Zimbabwe's colonial history.

Decolonizing Colonial Development Models in Africa: A New Postcolonial Critique confronts colonial development models to decolonize methodologies, epistemologies, and the history and practice of development in postcolonial African societies and advocates for Afrocentric alternatives. By taking a critical approach and drawing on postcolonial, postmodern, post-developmental, and post-structural theories, the contributors identify and analyze the effects of global inequality, racism, white supremacy, crisis, climate change, increasing environmental insecurity, underdevelopment, chronic diseases, and the vulnerability of the postcolonial societies of the global South. Together, the collection calls for and theorizes a new direction of development that incorporates indigenous-Afrocentric alternatives