Mwini Chuna ("Owner-of-Wealth")
The popular Sewero ("Play") programme has been broadcast weekly via TransWorld Radio (shortwave, Swaziland) for well over a decade. My survey focuses upon certain key aspects of the form and function of these dramatic vernacular performances, with particular emphasis upon their principal s...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
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Published: |
2003
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In: |
Neotestamentica
Year: 2003, Volume: 37, Issue: 2, Pages: 312-345 |
Online Access: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
Summary: | The popular Sewero ("Play") programme has been broadcast weekly via TransWorld Radio (shortwave, Swaziland) for well over a decade. My survey focuses upon certain key aspects of the form and function of these dramatic vernacular performances, with particular emphasis upon their principal structural, stylistic, and rhetorical properties. Special attention is given to the production team's imaginative adaptation of the familiar parable of Luke 16 in Nyanja. This overview features a selection of translated excerpts from the original text of this 22 minute play, as originally aired on TWR, to illustrate several of its captivating dramatic and life-challenging hermeneutical qualities. The dynamic radio art form of Sewero represents a modern variation of a traditional method of didactic communication that may well serve as a model for similar efforts aimed at contextualizing the message of Scripture for contemporary African audiences. It also provides an instructive insight into how local non-specialist "practical" theologies are being creatively developed at the grassroots level to meet some of the crucial pastoral exigencies of these turbulent times. In closing I offer several proposals for utilizing radio drama to promote biblical studies and Christian communication in Africa and abroad. |
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ISSN: | 2518-4628 |
Contains: | Enthalten in: Neotestamentica
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Persistent identifiers: | DOI: 10.10520/EJC83139 |