In this article I attempt to analyse three urban African performances; Nyawo, the tea party, and Beni. I employ the socio-historical analysis model which attempts to understand the relationship between the field of cultural production and the field of power. Historically the ascendancy to power of the bourgeoisie in Western Europe facilitated the assimilation of its culture and taste by virtually all of Western civil society. Colonisation in Rhodesia (in its blue print form) intended to use the same principle of extending English rulership and influence with the goal of transforming Rhodesia to be like the metropolitan state in manifesting the nature and will of the English in lifestyle, actions, activities and culture. As evidenced by the nature of these urban African performances, domination does not necessarily result in absolute collaboration. Rhodesian discourse was both collaborated with and resisted by African cultural producers. I look at this element of collaboration and resistance through Ranajit Guha's (1997) frame of the articulation of power where domination implies subordination. In the case of colonial administrations, coercion seems to outweigh persuasion in the articulation of domination thereby denying absolute assimilation of colonial culture by Africans as was the case of civil society in Western Europe.

Rhodesian discourse and power

According to Michel Foucault (1976) discourse is an institutionalised way of thinking that intrinsically erects a cordon to define what can be written, performed or said about a specific topic. In theorising about the discourse on language, Foucault (1976) argues that the production of discourse is controlled, selected, organised and redistributed according to clearly defined procedures.