Linguistic Innovation and Digital Communication in Zimbabwe: Gara Walaika

Gara Walaika
Contributors
Tawanda Matende Mamvura Zvinashe Pedzisai Mashiri
DOI icon https://doi.org/10.36386/ijilmd.v2i1.705
Abstract

In an increasingly digital world, some Zimbabwean netizens have taken this opportunity to become content creators (comedians, socialites, and influencers). Their work entails extensive use of social media platforms, such as YouTube, Instagram, Facebook, TikTok, and WhatsApp to produce and share their innovative content. Usually, the content these characters create focuses on specific topics and themes, while some touch on general issues. Content creation relies heavily on dramatic performances that may border on cross-dressing and the use of appropriate costumes and props (costumes are clothing and accessories worn by actors, while props are items they carry or interact with), as well as innovative language, among others. This study examines the linguistic innovations employed by content creators to produce online comedy. It considers the language mixing, structural adaptation of words, writing style/spelling, and textplay prevalent in the Shona content produced and disseminated by content creators on social media platforms as instances of linguistic innovation. Social media provides content creators with business opportunities and scope for exploiting linguistic fluidity and dynamism as a communicative resource in an environment biased towards standardisation and monolingualism, which can be seen as an epitome of indigenisation and national identity. The absence of adequate standard indigenous language repertoires in the digital space has not excluded content creators from participating in the digital economy and contributing to economic development. While integrating indigenous languages in the digital process is inevitable for participation in the Fourth Industrial Revolution, innovative language must be recognised as a pragmatic, versatile and innovative communicative resource that drives online entrepreneurial endeavours in Zimbabwe. The data analysed in this study was collected from content broadcast in Shona as the primary language of communication. This ethnographic study used online observation as a critical data collection method. This study uses, together with online or virtual communications as the primary source of data. The study examines how content creators utilise aesthetic and stylistic choices, morphological and discoursal strategies to create and circulate messages that attract a large following while maintaining constant patronage and vibrant engagement convertible to income.

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