Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1249170
Israel Ayinla Fadipe
ABSTRACT Every society possesses preconceived standpoints on women and womens issues in its enclave and these standpoints manifest in diverse media of communication from time to time. Popular music is one avenue for communicating social realities. This article examines Ayinla Omowura’s song-texts in order to understand how the artist as a patriarchal voice interprets these standpoints. Six songs are critically analysed to consider specific women’s issues and how they were portrayed. Four themes, namely polygamy, prostitution, skin bleaching, and women’s submission, recur in the songs. Also, the artist thrives on the use of invective, curses, proverbs, and aphorisms imbued with metaphors as rhetorical strategies. In all, the artist’s commentaries on women’s affairs in his society reveal a high level of patriarchal hegemony that dominated his time. In his attempt to explain the psychology of women, he accommodates and lends voice to the manufactured consent for continued gender discrimination.
{"title":"Understanding standpoints on women through a patriarchal voice: A study of Ayinla Omowura’s music","authors":"Israel Ayinla Fadipe","doi":"10.1080/18125980.2016.1249170","DOIUrl":"https://doi.org/10.1080/18125980.2016.1249170","url":null,"abstract":"ABSTRACT Every society possesses preconceived standpoints on women and womens issues in its enclave and these standpoints manifest in diverse media of communication from time to time. Popular music is one avenue for communicating social realities. This article examines Ayinla Omowura’s song-texts in order to understand how the artist as a patriarchal voice interprets these standpoints. Six songs are critically analysed to consider specific women’s issues and how they were portrayed. Four themes, namely polygamy, prostitution, skin bleaching, and women’s submission, recur in the songs. Also, the artist thrives on the use of invective, curses, proverbs, and aphorisms imbued with metaphors as rhetorical strategies. In all, the artist’s commentaries on women’s affairs in his society reveal a high level of patriarchal hegemony that dominated his time. In his attempt to explain the psychology of women, he accommodates and lends voice to the manufactured consent for continued gender discrimination.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"231 1","pages":"36 - 50"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1249170","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1249160
Alfred Henry Makura
ABSTRACT The late blind Zimbabwean musician, Paul Matavire, mesmerised his audience with a music genre whose lyrics addressed and continue to address contemporary social issues. His music occupies a prominent place in Zimbabwe’s music history and continues to portray the normative values of an Afro-traditional music genre. Three of his late-1980s hits, Dhiyabhorosi Nyoka (Diabolical snake), Taurayi zvenyu (Just speak please!) and Tanga Wandida (Love me first), collectively glorify patriarchy while portraying women as subservient to the masculine gender. In Dhiyabhorosi Nyoka, Matavire controversially uses biblical inter-textual allusions, humour, and sarcasm to demonstrate that Eve’s original sin was the genesis of the challenges besetting contemporary society (and especially men). He deploys a gendered perspective and demeaning language in other songs considered in this article. This article is grounded in a narrative agency perspective in discussing how Matavire’s music portrays and glorifies patriarchy through vocal characterisations. The selected songs’ lyrics are also examined to determine their implications for educational management, such as gender tolerance and respect.
{"title":"The glorification of patriarchy in Paul Matavire’s music lyrics","authors":"Alfred Henry Makura","doi":"10.1080/18125980.2016.1249160","DOIUrl":"https://doi.org/10.1080/18125980.2016.1249160","url":null,"abstract":"ABSTRACT The late blind Zimbabwean musician, Paul Matavire, mesmerised his audience with a music genre whose lyrics addressed and continue to address contemporary social issues. His music occupies a prominent place in Zimbabwe’s music history and continues to portray the normative values of an Afro-traditional music genre. Three of his late-1980s hits, Dhiyabhorosi Nyoka (Diabolical snake), Taurayi zvenyu (Just speak please!) and Tanga Wandida (Love me first), collectively glorify patriarchy while portraying women as subservient to the masculine gender. In Dhiyabhorosi Nyoka, Matavire controversially uses biblical inter-textual allusions, humour, and sarcasm to demonstrate that Eve’s original sin was the genesis of the challenges besetting contemporary society (and especially men). He deploys a gendered perspective and demeaning language in other songs considered in this article. This article is grounded in a narrative agency perspective in discussing how Matavire’s music portrays and glorifies patriarchy through vocal characterisations. The selected songs’ lyrics are also examined to determine their implications for educational management, such as gender tolerance and respect.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"19 - 3"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1249160","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1182392
C. Cupido
ABSTRACT In this pilot study, 46 professional opera singers were surveyed, exploring their physical, emotional, financial and social wellbeing. While most of the participants in this study were American, the other participants included South Africans, Canadians and Germans. Of the 46 participants, 24 were female and 22 male. Professional singers provided pertinent advice to aspiring singers so that they could make informed decisions when considering a career as an opera singer. Data collected through both quantitative and qualitative methods indicated that pursuing a career as an opera singer is indeed viable. Most of the singers surveyed, however, did not only perform as their main career focus. Many of the participants also taught singing to supplement their income. Financially, the majority of this sample regarded themselves as comfortable. Physical and psychological ailments were minimal and the reported instances of ailments were treatable.
{"title":"Learning from experience: Exploring the wellbeing of professional opera singers","authors":"C. Cupido","doi":"10.1080/18125980.2016.1182392","DOIUrl":"https://doi.org/10.1080/18125980.2016.1182392","url":null,"abstract":"ABSTRACT In this pilot study, 46 professional opera singers were surveyed, exploring their physical, emotional, financial and social wellbeing. While most of the participants in this study were American, the other participants included South Africans, Canadians and Germans. Of the 46 participants, 24 were female and 22 male. Professional singers provided pertinent advice to aspiring singers so that they could make informed decisions when considering a career as an opera singer. Data collected through both quantitative and qualitative methods indicated that pursuing a career as an opera singer is indeed viable. Most of the singers surveyed, however, did not only perform as their main career focus. Many of the participants also taught singing to supplement their income. Financially, the majority of this sample regarded themselves as comfortable. Physical and psychological ailments were minimal and the reported instances of ailments were treatable.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"107 - 80"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1182392","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60513949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1256999
M. Jorritsma
{"title":"Musics of the Free State: Reflections on a musical past, present, and future","authors":"M. Jorritsma","doi":"10.1080/18125980.2016.1256999","DOIUrl":"https://doi.org/10.1080/18125980.2016.1256999","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"172 - 174"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1256999","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1182823
Bridget Rennie-Salonen, F. D. de Villiers
ABSTRACT The high statistics of musicians’ performance-related pain and injury are well documented. Research shows that tertiary level musicians’ occupational health education is imperative, and internationally more and more institutions are proactively incorporating innovative preventative educational programmes as part of their coursework. However, there are no courses in musicians’ health offered in any of the music departments of South African universities. In this article we will explore a model towards musicians’ occupational health education, based on the research done by Judy Palac, a specialist in performing arts medicine education. Her collaborative and interdependent model for a musicians’ health intervention has three components: health professionals diagnose and treat musicians with music-related physical or psychological disorders; music teachers provide pedagogy that is founded on sound musical, psychological and biomechanical principles; movement and somatic specialists provide knowledge of the body in music making. Our aim is to demonstrate how this framework is applicable in South Africa. Brief recommendations for possible implementation strategies in the South African context are made.
{"title":"Towards a model for musicians’ occupational health education at tertiary level in South Africa","authors":"Bridget Rennie-Salonen, F. D. de Villiers","doi":"10.1080/18125980.2016.1182823","DOIUrl":"https://doi.org/10.1080/18125980.2016.1182823","url":null,"abstract":"ABSTRACT The high statistics of musicians’ performance-related pain and injury are well documented. Research shows that tertiary level musicians’ occupational health education is imperative, and internationally more and more institutions are proactively incorporating innovative preventative educational programmes as part of their coursework. However, there are no courses in musicians’ health offered in any of the music departments of South African universities. In this article we will explore a model towards musicians’ occupational health education, based on the research done by Judy Palac, a specialist in performing arts medicine education. Her collaborative and interdependent model for a musicians’ health intervention has three components: health professionals diagnose and treat musicians with music-related physical or psychological disorders; music teachers provide pedagogy that is founded on sound musical, psychological and biomechanical principles; movement and somatic specialists provide knowledge of the body in music making. Our aim is to demonstrate how this framework is applicable in South Africa. Brief recommendations for possible implementation strategies in the South African context are made.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"130 - 151"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1182823","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1249159
H. Wanjala, Charles Kebaya
ABSTRACT The role of music in the formation and shaping of identity cannot be gainsaid since music represents an important cultural sphere where identities are affirmed, challenged, torn apart and reconstructed. Many young people use music and musicians that they admire to distinguish themselves from their peers. Thus, the choice of music among the youth often serves as an important marker of the character and nature of identity under construction. Music is meant to be fun, to brighten life, but the development and expression of musical taste can also be a serious statement about one’s identity. Pop music as a genre has had the greatest appeal and impact to the majority of the youth in Kenya. The influence of the medium and its artists on overall identity development is pervasive, complex, and far-reaching in its cultural significance. Grounded in both a historical analysis and a theoretical framework of identity, we interrogate how contemporary pop music shapes and influences identities among Kenyan youth. Using purposively selected contemporary popular music in Kenya, the article provides a textual exegesis of how music uses resources of history, language, and culture in the construction and performance of certain identities. To this end, the study analyses the strategic position of identity and the possibility of connecting it with conceptions of time, discourse, and history. This study provides new insights into how music – as a medium in which identities are constructed, performed, and contested – can be utilised meaningfully in shaping worldviews among Kenyan youth.
{"title":"Popular music and identity formation among Kenyan youth","authors":"H. Wanjala, Charles Kebaya","doi":"10.1080/18125980.2016.1249159","DOIUrl":"https://doi.org/10.1080/18125980.2016.1249159","url":null,"abstract":"ABSTRACT The role of music in the formation and shaping of identity cannot be gainsaid since music represents an important cultural sphere where identities are affirmed, challenged, torn apart and reconstructed. Many young people use music and musicians that they admire to distinguish themselves from their peers. Thus, the choice of music among the youth often serves as an important marker of the character and nature of identity under construction. Music is meant to be fun, to brighten life, but the development and expression of musical taste can also be a serious statement about one’s identity. Pop music as a genre has had the greatest appeal and impact to the majority of the youth in Kenya. The influence of the medium and its artists on overall identity development is pervasive, complex, and far-reaching in its cultural significance. Grounded in both a historical analysis and a theoretical framework of identity, we interrogate how contemporary pop music shapes and influences identities among Kenyan youth. Using purposively selected contemporary popular music in Kenya, the article provides a textual exegesis of how music uses resources of history, language, and culture in the construction and performance of certain identities. To this end, the study analyses the strategic position of identity and the possibility of connecting it with conceptions of time, discourse, and history. This study provides new insights into how music – as a medium in which identities are constructed, performed, and contested – can be utilised meaningfully in shaping worldviews among Kenyan youth.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"20 - 35"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1249159","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1267424
Jeffrey Brukman, G. Gruber, Inge Kelly-Patterson, C. Lucia
{"title":"Negotiating tonic sol-fa and staff notation: Two South African perspectives","authors":"Jeffrey Brukman, G. Gruber, Inge Kelly-Patterson, C. Lucia","doi":"10.1080/18125980.2016.1267424","DOIUrl":"https://doi.org/10.1080/18125980.2016.1267424","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"152 - 167"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1267424","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1251004
Claudia Jansen van Rensburg
ABSTRACT The article explores the censorship of music under apartheid South Africa as practised by the state broadcaster, the South African Broadcasting Corporation (SABC). The article suggests that while no formal government structures were in place to censor music per se (government censorship structures were primarily concerned with the restriction and surveillance of literature, film and the media), the SABC was the most dominant censor of musical production and dissemination on the apartheid state’s behalf. The article argues, based on archival findings dating from 1986 to 1996, that the SABC’s Central Acceptance Committee (CRAC), tasked to assess the suitability of musical items for broadcast, attempted to align itself with government censorship procedures but was placed in an ambiguous position with the gradual change in political climate from approximately 1990 to 1996 (the year in which the committee was dismantled). The data collected does therefore not reflect a censorship system functioning securely in the years of ‘grand apartheid’, but rather one that was beginning to disintegrate under the pressures of political reform. In addition, the article argues that music, unlike literature (that was assessed in the light of its ‘artistic merit’), was censored without any particular aesthetic programme in mind.
{"title":"Documenting the structures of musical silencing and audibility: The South African Broadcasting Corporation’s Central Record Acceptance Committee from 1986 to 1996","authors":"Claudia Jansen van Rensburg","doi":"10.1080/18125980.2016.1251004","DOIUrl":"https://doi.org/10.1080/18125980.2016.1251004","url":null,"abstract":"ABSTRACT The article explores the censorship of music under apartheid South Africa as practised by the state broadcaster, the South African Broadcasting Corporation (SABC). The article suggests that while no formal government structures were in place to censor music per se (government censorship structures were primarily concerned with the restriction and surveillance of literature, film and the media), the SABC was the most dominant censor of musical production and dissemination on the apartheid state’s behalf. The article argues, based on archival findings dating from 1986 to 1996, that the SABC’s Central Acceptance Committee (CRAC), tasked to assess the suitability of musical items for broadcast, attempted to align itself with government censorship procedures but was placed in an ambiguous position with the gradual change in political climate from approximately 1990 to 1996 (the year in which the committee was dismantled). The data collected does therefore not reflect a censorship system functioning securely in the years of ‘grand apartheid’, but rather one that was beginning to disintegrate under the pressures of political reform. In addition, the article argues that music, unlike literature (that was assessed in the light of its ‘artistic merit’), was censored without any particular aesthetic programme in mind.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"8 1","pages":"51 - 66"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1251004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1267429
A. D. de Villiers
ABSTRACT Educational reform that introduces a new curriculum for schools usually serves as the impetus for professional development for teachers. In this essay the researcher provides a literature review in narrative format. She simultaneously draws on her own experiences in arts education in the context of a developing country. She identifies and discusses factors that can impinge on the efficacy of professional development for generalist teachers who teach the Creative Arts (Arts and Culture). The researcher specifically highlights redeployment and the reassignment of teachers to different subjects in the context of schools in low socio-economic areas. A number of recommendations are proposed to improve the efficacy of professional development in the arts.
{"title":"The role of context in the efficacy of professional development in the Creative Arts","authors":"A. D. de Villiers","doi":"10.1080/18125980.2016.1267429","DOIUrl":"https://doi.org/10.1080/18125980.2016.1267429","url":null,"abstract":"ABSTRACT Educational reform that introduces a new curriculum for schools usually serves as the impetus for professional development for teachers. In this essay the researcher provides a literature review in narrative format. She simultaneously draws on her own experiences in arts education in the context of a developing country. She identifies and discusses factors that can impinge on the efficacy of professional development for generalist teachers who teach the Creative Arts (Arts and Culture). The researcher specifically highlights redeployment and the reassignment of teachers to different subjects in the context of schools in low socio-economic areas. A number of recommendations are proposed to improve the efficacy of professional development in the arts.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"67 - 79"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1267429","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1256979
I. Madalane
{"title":"Female voices from an Ewe dance-drumming community in Ghana: Our music has become a divine spirit","authors":"I. Madalane","doi":"10.1080/18125980.2016.1256979","DOIUrl":"https://doi.org/10.1080/18125980.2016.1256979","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"168 - 171"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1256979","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60513933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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