Dissertations / Theses on the topic 'Traditional African songs'

Thesis (M .A. (African Languages)) -- University of Limpopo, 2014
This research “Nxopaxopo wa tinsimu ta vanhwanyana va xikhale va Vatsonga wu kongomisa eka manghenelo, xitatimendhe xa xipiqo, xikongomelo, nkoka wa maendlelo ni tinhlamuselo ta matheme lama nga tirhisiwa” deals with path which was paved by young girls of the older generations before married. In our discussion in this research I will touch some few things about their songs like the teaching of the nation, good behaviour for themselves even as adults and culture in totality etc. The other thing is language which the girls used when performing their songs. This research consists of six chapters. Chapter 1: It outlines the research proposal as follows. The introduction, statement of problem, aim of the study, the significance of the research, definition of terms, methods used and literature review. Chapter 2: This chapter explains the upbringing of young girls of the olden generation. Secondly, it outlines the stages that they undergo and the relationship between these stages. Furthermore it brings forth norms and values to be followed when these girls get married. Chapter 3: The chapter deals with the analysis of the chosen songs by young girls of the olden generations. Emphasis is based on the sense of the poem and the usage of figurative language. Chapter 4: Firstly it deals with the meaning of the word “theme”. It also outlines the theme of young girls of olden generations as per their varying categories, involves life in general, like unfaithfulness to their brother in law, love one another, for the love of culture etc. Chapter 5: Deals with the findings which this research discovered about the songs of the young girls of the olden generations. It also deals with the suggestion and recommendations. Chapter 6: It provides a list of various references used in this research

Thesis (MA. (African Languages)) --University of Limpopo, 2013
Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.

The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.

The main objective of this mini–dissertation is to investigate the basic form and content of moral education as it manifests itself in the mamtiseni and nkciyo female initiation rituals of the Mount Frere region of the Eastern Cape Province of the Republic of South Africa. The main theoretical position taken is the reemergent African Renaissance coupled with African indigenous knowledge systems, first revived by (former) President Thabo Mbeki. Accordingly the main purpose of this study is to address the transmission of moral aspects of female Bhaca initiation inherent in behavioural/cultural educational enculturation. The main findings of the mini–dissertation constitute the following: 1. Mamtiseni and nkciyo rituals play a major role in the enculturation of young Bhaca girls. 2. The song texts carry strong messages of how to go about achieving a healthy and surviving society. There are further opportunities for research in the following aspects: 1. Nkciyo initiation schools are very exclusive, involving many secret codes. The fact that I am a male put me at a disadvantage. 2. There are many more points of difference between the two rituals than meets the eye.
Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2011.

The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase.
Linguistics and Modern Languages

Text in English
This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.

Text in Afrikaans
Die eerste hoofstuk omskryf die begrip ngano, daarna volg 'n uiteensetting hoe die Venda mondelinge tradisie in die verlede gefunksioneer het en word die huidige aard en posisie van die verskynsel in die lewe van die gemeenskap gedefinieer. Veranderende sosio-ekonomiese en politieke kragte het die tradisionele lewenswyse van die Venda-mense in so 'n mate versteur dat die mondelinge tradisie en die stem van die storieverteller nie meer hoog waardeer word deur die moderne geslag nie. Die teoretiese uitgangspunt van hierdie tesis aanvaar dat religie 'n radikaal integrerend funksie het wat chaos in sinvolle patrone inkorporeer. Dialekties verbind aan die eerste beginsel van religie is die inherente drang van die mens se gees om alle gegewe limiete te transendeer. Vanuit hierdie fokus kan ngano as religieuse artikulasies interpreteer word wat chaos in sinvolle patrone uitdruk, en waarin oak opstand teen bestaande orde en tradisionele aannames uitgespreek word. In bree trekke skets die tweede hoofstuk die historiese agtergrond van die Venda-mense vanaf 800 nC tot en met die resente politieke veranderinge van 1994 in die Noordelike Provinsie. Die tweede deel van die hoofstuk bied 'n uiteensetting van hul religio-filosofiese agtergrond en tesame met die geskiedkundige gebeure dien dit as interpretatiewe konteks vir hierdie oeroue verhale wat van die een geslag na die ander oorgelewer is. In die volgende nege hoofstukke verskyn vyftig volksverhale wat in agt verskillende areas in Venda gedokumenteer is. Elke verhaal is vooraf voorsien van 'n opsomming van die inhoud van die verhaal asook 'n interpretasie van die verhaal deur die verteller self of verduidelikings van haar helpers. Die oorspronklike Venda-teks word gegee in die presiese woorde van die verteller met daarby die Afrikaanse vertaling. 'n Terna wat hehaaldelik voorkom is die opstand van die magteloses (die kind, die vrou of niksseggende persoon) teen magtiges (die koning, die man, dominerende familielede of tradisionele strukture). Ander gewilde temas is die ellende van hongersnood, die aanwending en voorkoms van toorkragte en bonatuurlike transformasies. Ten slotte is daar drie Sankambe-verhale waarin die fantastiese avonture van hasie, die aartbedrieer, wat op grand van blote vernuf oorleef, humoristies vertel word. Ofskoon daar duidelike artikulasies van verset en kritiek teen die tradisionele orde en teen magtiges is, waag ngano dit selde buite die tradisioneel religieus-filosofiese grense.
The first chapter outlines the concept ngano, thereafter the function of the Venda oral tradition in the past is described and the present nature and position of the phenomenon in community living is defined. Changing socio-economic and political forces disturbed traditional Venda life-style to such an extent that the oral tradition and the voice of the storyteller are not highly regarded by the modern generation. The theoretical point of departure of this thesis accepts the radical integrative function of religion ordering chaos into meaningful patterns. Dialectically tied to this first principle of religion is the inherent urgency of the human spirit to transcend all given limits. Viewed thus, ngano can be interpreted as religious utterances in which chaos is expressed in meaningful patterns and where resistance is articulated against existing order and traditional assumptions. Chapter two sketches the historical background of the Venda people from 800 AD up to recent political changes of 1994 in the Northern Province. The second part of this chapter presents an exposition of their religio-philosophic background which, together with the historical events provide an interpretative context for these ancient stories handed down from one generation to the next. Fifty folk tales (ngano) appear in the following nine chapters documented in eight different areas in Venda. Every narrative is introduced by a summary of the content of the story together with an interpretation by narrator and assistants. The Venda text is given first adhering as closely as possible to the original words of the narrator. Every line is followed by an Afrikaans translation. A recurring theme in ngano is the powerless (child, wife or insignificant person) resisting the powerful (king, husband/man, dominating family members or unyielding traditional structures). Other popular themes are the misery of famine, application and occurrence of witchcraft and supernatural transformations. Lastly three Sankambe-stories are documented in which the fantastic antics of the hare, the trickster in Venda folk tales who survives by sheer cunning, are humorously narrated. Although there are distinct expressions of resistance and criticism against the existing order and dominating powers, ngano seldom ventures beyond traditional religious and philosophic boundaries.
Religious Studies & Arabic
D. Litt et Phil. (Religious Studies)

Text in English
The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase.
Linguistics and Modern Languages
D. Phil. (Languages, Linguistics and Literature)

Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures. It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators.
ART HIST, VIS ARTS & MUSIC
DLITT ET PHIL (MUSICOLOGY)

INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances.
INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik.
Anthropology and Archaeology
M.A. (Anthropology)

Certain cultural practices present unspoken questions to women. While women may not be free to state these concerns upfront I argue that they have always had some means of expressing themselves in creative ways about issues that affect them. One issue that is investigated in this dissertation is the question of why women sing. This study, therefore, examines one of the channels, which are songs, that women and rural women in particular employ to deal with their day to day living. To this end I have selected cultural songs as one of the ways of demonstrating how women negotiate their spaces in the culture. The study is based on a community of women from Zwelibomvu near Pinetown, South Africa but goes beyond this as I believe that women in general speak for the majority of other women especially with regard to issues around gender and power inequalities. Songs have been selected as a genre and as a special form of expression that women in particular find easier to use to raise issues that affect them in their daily lives. The three hour DVD rendition that forms part of this study captures a synoptic view of the amount of raw data found in this study. Through the medium of song, and strengthened by the stories that they share, Zwelibomvu rural women are able to get a sense of relief and consolation from the burdens that they have and which they would like to share. Presented as a two part field work process, the first process involves the collection of songs in ceremonies and occasions and observing an d being part of the occasions and ceremonies where the songs that are sung by women are performed. This process culminates in the production of the three hour DVD rendition that forms part of this study and which captures a synoptic view of the amount of r aw data found in this dissertation. The second part mainly involves interviews of categories of respondents in similar settings/districts observed where ceremonies were attended and attempts to provide some insight into why women sing and the question of gender and power in contemporary women’s songs. Finally, the last chapters involve an analysis of songs with regard to themes that emanate from these songs as well as a review on their oral composition.
Thesis (Ph.D)-University of KwaZulu-Natal, Durban, 2008.

This dissertation is a study of the Afro-American oral tradition with special reference to the formal aspects of the poetry of spirituals. In the introduction. an attempt has been made to take a look at the value of oral tradition; the interplay between oral and written tradition; the use made of orality in a society that was denied conventional literacy; the concept and the definition of the term, “spiritual". The organization of the rest of the essay is as follows: The sections are divided into four chapters. The first chapter concerns the origins of Afro-American spirituals and the anthropological foundations of the Afro-American oral style (anthropology of gesture). In addition, an attempt has been made to place the Afro-American oral tradition vis-a-vis the African oral tradition. The second chapter deals with key characteristics in the expressive phase of the Afro-American slave community with special reference to the dynamics of language usage. In the third chapter, there is consideration in some detail on the Afro-American oral composer and the transmission of the spirituals in an oral style milieu. The fourth chapter investigates stylized expression and is devoted to analyses of mnemotechnical devices within the spirituals. In the concluding chapter, an attempt has been made to take an overall look at Afro-American sacred poetic achievement. I must point out that it is not my intention to embark on any technical analysis of the music form and configuration of the spirituals - that is beyond the scope of this essay. In including "representative" samples of spirituals (and portions of spirituals), I do not intend them to be seen as "islands unto themselves" but rather, each spiritual must be seen as part of the whole corpus of Afro-American sacred oral composition. The question may arise: "Why a study of the Afro-American spirituals when there is so much to be studied on the oral traditions of Southern Africa? My response would be that the spirituals fascinate me for I see in them their widespread influence on the Pentecostal and Charismatic movements in South Africa. The Gospel song, so beloved of Pentecostal congregations, is an heir to the Spiritual. An enquiry on the sacred music and performance styles (improvisation, extemporization, dance, handclapping, shouts, etc.) of Pentecostalism will reveal that much of the Afro-American oral style still exists within the fellowship of Black and, venture to say, all Pentecostal churches in South Africa with obvious nuances that vary from denomination to denomination. But, the spirited and lively sacred music is encouraged and preserved.
Thesis (M.A.)-University of Natal, Durban, 1991.

This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).
Art history, Visual Ars and Musicology
D. Mus