Pub Date : 2021-01-02DOI: 10.1080/18125980.2021.1945946
Babatunde Raphael Ojebuyi, Bimbo Lolade Fafowora
Abstract Hybridisation, that is, the blending of different cultural elements to create a new cultural form and identity, has become a significant linguistic feature of hip-hop music in Nigeria. Existing studies have focused largely on the negative roles of hip-hop music describing it as a tool for cultural imperialism and fostering deviant behaviour among youths. However, sparse scholarly attention has been paid to the cultural significance of hybridisation in Nigerian hip-hop music for promoting indigenous cultural values, especially among the youths in such a culturally complex country. This article reports on a study that was designed to examine hybridisation in Nigerian hip-hop music with a specific focus on the Yoruba language which is prominently used in the genre. This was done to establish how the linguistic process has challenged the notion of cultural hegemony in a way capable of changing youths’ perception of their indigenous cultural values. Using a mixed-methods approach, the researchers administered 255 copies of a 17-item questionnaire to students at the University of Ibadan, Nigeria. They also conducted five in-depth interviews with purposively selected hip-hop artistes and music producers in Ibadan, while they analysed the contents of 40 randomly selected Nigerian hip-hop music videos produced between 2010 and 2015. The findings of the study revealed a high level of hybridisation manifested as the blending of Yoruba cultural content into Nigerian hip-hop music. The study also established that hybridised hip-hop music, as a form of communication, exerts a positive influence on youths’ perception of indigenous culture and values.
{"title":"Contesting Cultural Imperialism: Hybridisation and Re-enactment of Indigenous Cultural Values in Nigerian Hip-Hop Music","authors":"Babatunde Raphael Ojebuyi, Bimbo Lolade Fafowora","doi":"10.1080/18125980.2021.1945946","DOIUrl":"https://doi.org/10.1080/18125980.2021.1945946","url":null,"abstract":"Abstract Hybridisation, that is, the blending of different cultural elements to create a new cultural form and identity, has become a significant linguistic feature of hip-hop music in Nigeria. Existing studies have focused largely on the negative roles of hip-hop music describing it as a tool for cultural imperialism and fostering deviant behaviour among youths. However, sparse scholarly attention has been paid to the cultural significance of hybridisation in Nigerian hip-hop music for promoting indigenous cultural values, especially among the youths in such a culturally complex country. This article reports on a study that was designed to examine hybridisation in Nigerian hip-hop music with a specific focus on the Yoruba language which is prominently used in the genre. This was done to establish how the linguistic process has challenged the notion of cultural hegemony in a way capable of changing youths’ perception of their indigenous cultural values. Using a mixed-methods approach, the researchers administered 255 copies of a 17-item questionnaire to students at the University of Ibadan, Nigeria. They also conducted five in-depth interviews with purposively selected hip-hop artistes and music producers in Ibadan, while they analysed the contents of 40 randomly selected Nigerian hip-hop music videos produced between 2010 and 2015. The findings of the study revealed a high level of hybridisation manifested as the blending of Yoruba cultural content into Nigerian hip-hop music. The study also established that hybridised hip-hop music, as a form of communication, exerts a positive influence on youths’ perception of indigenous culture and values.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"59 - 81"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1945946","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47852172","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 : 2021-01-02DOI: 10.1080/18125980.2021.1958696
Chijioke Ngobili
Abstract For 98 years (1922–2020), the entire corpus of popular music practices and experiences in Nigeria evolved and thrived almost uninterrupted until the great disruption caused when the World Health Organization (WHO) declared Severe Acute Respiratory Syndrome Coronavirus 2 (COVID-19) a global pandemic on 11 March 2020. Between 1922 and 2020, there have been hazy and unsteady creative attempts, incipient interactions and interruptions, generational changes and exchanges, and ideological shifts which have marked the evolution of Nigerian popular music. Based on a historical-analytical approach, this article reports on a study that aimed to recollect and explore the remarkable socio-political developments, transformations and perceptions that have consistently underpinned these 98 years of popular music practices/experiences in Nigeria. As part of the study findings, these years were divided into the following four periods: the foggy years (1922–1944); the interactive-budding period (1945–1969); the liberal period (1970–1999); and the mononationalist period (2000–2020). In part, the methodology relied on the oral accounts of some elderly and middle-aged Nigerian popular music artists, entrepreneurs, enthusiasts and analysts, as well as archival resources (print and audio-visual), and the extant literature on popular music in and social history of Nigeria. The findings also revealed transnational heritages and memorial continuities that partly and presently characterise these periods.
{"title":"Close to a Century of Popular Music Practices and Experiences in Nigeria (1922–2020) and a Brief History of Their Socio-political Background","authors":"Chijioke Ngobili","doi":"10.1080/18125980.2021.1958696","DOIUrl":"https://doi.org/10.1080/18125980.2021.1958696","url":null,"abstract":"Abstract For 98 years (1922–2020), the entire corpus of popular music practices and experiences in Nigeria evolved and thrived almost uninterrupted until the great disruption caused when the World Health Organization (WHO) declared Severe Acute Respiratory Syndrome Coronavirus 2 (COVID-19) a global pandemic on 11 March 2020. Between 1922 and 2020, there have been hazy and unsteady creative attempts, incipient interactions and interruptions, generational changes and exchanges, and ideological shifts which have marked the evolution of Nigerian popular music. Based on a historical-analytical approach, this article reports on a study that aimed to recollect and explore the remarkable socio-political developments, transformations and perceptions that have consistently underpinned these 98 years of popular music practices/experiences in Nigeria. As part of the study findings, these years were divided into the following four periods: the foggy years (1922–1944); the interactive-budding period (1945–1969); the liberal period (1970–1999); and the mononationalist period (2000–2020). In part, the methodology relied on the oral accounts of some elderly and middle-aged Nigerian popular music artists, entrepreneurs, enthusiasts and analysts, as well as archival resources (print and audio-visual), and the extant literature on popular music in and social history of Nigeria. The findings also revealed transnational heritages and memorial continuities that partly and presently characterise these periods.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"34 - 58"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44807754","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 : 2021-01-02DOI: 10.1080/18125980.2021.1957002
S. Yende, George Mugovhani
Abstract Unemployment has emerged as a global phenomenon that brutally affects young people, irrespective of whether they have academic qualifications, but is more prevalent and predominant in semi-peripheral and peripheral countries. Like graduates from other emerging countries, South African graduates are experiencing unemployment. The issue of unemployment in the performing arts industry has become a matter of great concern. Vocal Art (hereafter VA) graduates are finding it increasingly challenging to find a bridge between university and the industry of their profession. This article reports on a study that explored the relevance of the Performing Arts (Vocal Art) curriculum at the Tshwane University of Technology (TUT), Pretoria, South Africa, to employment opportunities for its graduates. A qualitative research method was employed using approaches such as a review of scholarly writings and interviews with arts graduates, lecturers, employers, VA performers, and selected performing arts industry practitioners and leaders. The findings demonstrated that there are a high number of arts graduates battling to find employment which is partly attributable to a lack of specific skills not catered for in the present curriculum. The study identified these special and relevant skills crucial for the performing arts industry. The article concludes by affirming that the TUT curriculum has to be redesigned, restructured and aligned with the continuously changing performing arts industry.
{"title":"Employability Challenges Facing Vocal Art Graduates in South Africa: A Case Study of Tshwane University of Technology","authors":"S. Yende, George Mugovhani","doi":"10.1080/18125980.2021.1957002","DOIUrl":"https://doi.org/10.1080/18125980.2021.1957002","url":null,"abstract":"Abstract Unemployment has emerged as a global phenomenon that brutally affects young people, irrespective of whether they have academic qualifications, but is more prevalent and predominant in semi-peripheral and peripheral countries. Like graduates from other emerging countries, South African graduates are experiencing unemployment. The issue of unemployment in the performing arts industry has become a matter of great concern. Vocal Art (hereafter VA) graduates are finding it increasingly challenging to find a bridge between university and the industry of their profession. This article reports on a study that explored the relevance of the Performing Arts (Vocal Art) curriculum at the Tshwane University of Technology (TUT), Pretoria, South Africa, to employment opportunities for its graduates. A qualitative research method was employed using approaches such as a review of scholarly writings and interviews with arts graduates, lecturers, employers, VA performers, and selected performing arts industry practitioners and leaders. The findings demonstrated that there are a high number of arts graduates battling to find employment which is partly attributable to a lack of specific skills not catered for in the present curriculum. The study identified these special and relevant skills crucial for the performing arts industry. The article concludes by affirming that the TUT curriculum has to be redesigned, restructured and aligned with the continuously changing performing arts industry.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"110 - 126"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43431893","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 : 2021-01-02DOI: 10.1080/18125980.2021.1957001
A. D. de Villiers, Carolyn Rossouw
Abstract Community Music (hereafter CM) exists in many forms, including choral groups, instrumentalists, bands and other ensembles. The literature on community music highlights how participants in different contexts benefit from participating in community music activities. This article reports on a study in which the researchers investigated diverse forms of CM in three church settings in Port Elizabeth (now Gqeberha), Eastern Cape, South Africa. These church CM activities included a senior adult choir, a youth band, and an instrumental ensemble. A multiple case study approach was followed and data was collected through observations, unstructured interviews, audio and written materials. The thematic analysis revealed that participation in CM activities had a positive effect on the participants.
{"title":"Church Community Music Activities and the Benefits for Participants","authors":"A. D. de Villiers, Carolyn Rossouw","doi":"10.1080/18125980.2021.1957001","DOIUrl":"https://doi.org/10.1080/18125980.2021.1957001","url":null,"abstract":"Abstract Community Music (hereafter CM) exists in many forms, including choral groups, instrumentalists, bands and other ensembles. The literature on community music highlights how participants in different contexts benefit from participating in community music activities. This article reports on a study in which the researchers investigated diverse forms of CM in three church settings in Port Elizabeth (now Gqeberha), Eastern Cape, South Africa. These church CM activities included a senior adult choir, a youth band, and an instrumental ensemble. A multiple case study approach was followed and data was collected through observations, unstructured interviews, audio and written materials. The thematic analysis revealed that participation in CM activities had a positive effect on the participants.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"14 - 33"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42770568","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 : 2021-01-02DOI: 10.1080/18125980.2021.1977015
Marc Duby
{"title":"Editorial","authors":"Marc Duby","doi":"10.1080/18125980.2021.1977015","DOIUrl":"https://doi.org/10.1080/18125980.2021.1977015","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"1 - 2"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45452927","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 : 2021-01-02DOI: 10.1080/18125980.2021.1947154
E. M. Sone
Abstract The fraught relationship between popular music and the various kinds of power in Africa has stimulated intensive scholarship and encouraged heated discussions on the topic. Of special interest seems to be the multifaceted character of that interrelationship. It is generally agreed that artistic expression is influenced by political power and that the two mutually inform and shape each other. This article examines the themes of power, powerlessness and protest as they affect political governance in Cameroon, Central Africa, and as they are reflected in Cameroonian popular music. It further shows how popular songs are used to examine fundamental issues of national concern and to criticise the political leadership. The purpose of the article is to demonstrate how popular music can open a window of understanding into the current political process in Cameroon with a view to drawing implications for positive change. Written against the background of new historicism and postcolonial theories, the article is built on the assumption that popular music is a vibrant and dynamic form of oral literature which is shaped by social, economic and political forces in present-day Cameroon. As a result, popular music has the potential to play a role in influencing a society's perception and sense of direction. The article concludes by recommending that if the issues of power and marginality in Cameroon are to be addressed more successfully, and if the politically fraught conditions are to be ameliorated, then Cameroonians must be prepared to undergo a radical change of mentality.
{"title":"Power, Powerlessness and Radical Protest in Contemporary Cameroonian Popular Music","authors":"E. M. Sone","doi":"10.1080/18125980.2021.1947154","DOIUrl":"https://doi.org/10.1080/18125980.2021.1947154","url":null,"abstract":"Abstract The fraught relationship between popular music and the various kinds of power in Africa has stimulated intensive scholarship and encouraged heated discussions on the topic. Of special interest seems to be the multifaceted character of that interrelationship. It is generally agreed that artistic expression is influenced by political power and that the two mutually inform and shape each other. This article examines the themes of power, powerlessness and protest as they affect political governance in Cameroon, Central Africa, and as they are reflected in Cameroonian popular music. It further shows how popular songs are used to examine fundamental issues of national concern and to criticise the political leadership. The purpose of the article is to demonstrate how popular music can open a window of understanding into the current political process in Cameroon with a view to drawing implications for positive change. Written against the background of new historicism and postcolonial theories, the article is built on the assumption that popular music is a vibrant and dynamic form of oral literature which is shaped by social, economic and political forces in present-day Cameroon. As a result, popular music has the potential to play a role in influencing a society's perception and sense of direction. The article concludes by recommending that if the issues of power and marginality in Cameroon are to be addressed more successfully, and if the politically fraught conditions are to be ameliorated, then Cameroonians must be prepared to undergo a radical change of mentality.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"82 - 109"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1947154","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42548813","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 : 2020-07-02DOI: 10.1080/18125980.2021.1927157
Nkululeko Sibanda, N. Dhlamini
Abstract In this article, the authors examine the symbiotic relationship that exists between places and identities in Bulawayo, Zimbabwe, through contemporary song texts. They borrow Julia Kristeva’s concept of intertextuality to trace the sources of spatial textual referents embedded in song texts and examine the ways in which they inform the emergence and consolidation of identities. Through analysing selected song texts from the late Beatar Mangethe, Khuxxman and Lovemore “Majaivana” Tshuma, the authors underscore the spatial senses in which these selected song texts define and shape identities and class distinctions in Bulawayo’s townships. Finally, they describe the identities of characters who are sketched into the places that Mangethe, Khuxxman and Majaivana sing about, thereby highlighting a symbiotic dialogue between people and places in Bulawayo.
{"title":"Mapping Places and Identities through Contemporary Bulawayo Popular Song Texts","authors":"Nkululeko Sibanda, N. Dhlamini","doi":"10.1080/18125980.2021.1927157","DOIUrl":"https://doi.org/10.1080/18125980.2021.1927157","url":null,"abstract":"Abstract In this article, the authors examine the symbiotic relationship that exists between places and identities in Bulawayo, Zimbabwe, through contemporary song texts. They borrow Julia Kristeva’s concept of intertextuality to trace the sources of spatial textual referents embedded in song texts and examine the ways in which they inform the emergence and consolidation of identities. Through analysing selected song texts from the late Beatar Mangethe, Khuxxman and Lovemore “Majaivana” Tshuma, the authors underscore the spatial senses in which these selected song texts define and shape identities and class distinctions in Bulawayo’s townships. Finally, they describe the identities of characters who are sketched into the places that Mangethe, Khuxxman and Majaivana sing about, thereby highlighting a symbiotic dialogue between people and places in Bulawayo.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"71 - 88"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1927157","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47504970","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 : 2020-07-02DOI: 10.1080/18125980.2020.1794944
Blessed Parwaringira, P. Mpofu
Abstract While there are many refined musical productions, Zimdancehall is epitomised by the use of explicit vulgar lyrics. This article attempts to make sense of vulgarity in the musical genre against the knowledge that, although vulgarity is obnoxious in the public sphere, it is functional in specific contexts among the Shona people of Zimbabwe. Deploying a theoretical gaze that is grounded in concepts of indigenous knowledge systems, aesthetics of vulgarity and subalternity, the article grapples with Zimdancehall artists’ pursuit of creative power and recognition through unorthodox use of vulgar lyrics. The article shows the expediency of vulgarity in artists’ expressions of power, and how it is used to gain fame in a highly competitive music industry with established musicians. Such artistic power is gained through the “diss” modus, that is, through the appropriation of masculine supremacy and the subversion of femininity. Counter-hegemonic discourses are used to contest the dominance of rival artists by employing vulgar humour. It is one thing to pursue recognition, but it is another to be recognised. The use of vulgar lyrics alone does not always translate into artistic power and fame.
{"title":"In Pursuit of Recognition and the Expression of Power? Making Sense of Vulgarity in Zimdancehall","authors":"Blessed Parwaringira, P. Mpofu","doi":"10.1080/18125980.2020.1794944","DOIUrl":"https://doi.org/10.1080/18125980.2020.1794944","url":null,"abstract":"Abstract While there are many refined musical productions, Zimdancehall is epitomised by the use of explicit vulgar lyrics. This article attempts to make sense of vulgarity in the musical genre against the knowledge that, although vulgarity is obnoxious in the public sphere, it is functional in specific contexts among the Shona people of Zimbabwe. Deploying a theoretical gaze that is grounded in concepts of indigenous knowledge systems, aesthetics of vulgarity and subalternity, the article grapples with Zimdancehall artists’ pursuit of creative power and recognition through unorthodox use of vulgar lyrics. The article shows the expediency of vulgarity in artists’ expressions of power, and how it is used to gain fame in a highly competitive music industry with established musicians. Such artistic power is gained through the “diss” modus, that is, through the appropriation of masculine supremacy and the subversion of femininity. Counter-hegemonic discourses are used to contest the dominance of rival artists by employing vulgar humour. It is one thing to pursue recognition, but it is another to be recognised. The use of vulgar lyrics alone does not always translate into artistic power and fame.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"18 - 39"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2020.1794944","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48053409","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 : 2020-07-02DOI: 10.1080/18125980.2021.1905540
O. Phibion, Fana Rabatoko
Abstract This article reports on research that was conducted among the Bakwena at the Molepolole main Kgotla (Tribal Administration Centre or traditional law court) as the chief’s place is known in Setswana (the Tswana language spoken in Botswana) in the Kweneng District of Botswana. The researchers were motivated by the information they gathered during their annual ethnomusicology class excursions to Molepolole. The research focused on the revitalisation and conservation of the traditional use of the lenaka la tholo (Setswana for kudu horn) through observation of its construction and practical performances. Nowadays, young people do not consider practising traditional music. Thus, the researchers found it necessary to embark on the research to revitalise the musical use of the traditional kudu horn. Much as culture is not static, the researchers found this aspect of culture to be relevant to the current life situation of the Bakwena among whom the research was conducted. The aim of the research was to find out what the Bakwena still practise as well as what could be documented for future use and reference about kudu horn blowing. The main reason for conducting this type of research is that performance of the lenaka la tholo is almost obsolete and there is a great need for its revival among the elders and youth of Botswana at large. During their annual visits, the researchers collected data by means of oral interviews, recordings, and observation of practical construction of the instrument and its performances. In carrying out the research, some information was also obtained from different repositories such as books, journals and the internet.
摘要本文报道了在博茨瓦纳Kweneng区的Molepoloe主要Kgotla（部落行政中心或传统法院）的Bakwena人中进行的研究，因为酋长的位置在博茨瓦纳的Setswana语（博茨瓦纳所说的茨瓦纳语）中是众所周知的。研究人员的动机是他们在每年一次的民族音乐学课上前往莫勒波洛莱时收集到的信息。研究重点是通过观察其结构和实际性能，振兴和保护lenaka la tholo（库杜角的Setswana）的传统用途。现在，年轻人不考虑练习传统音乐。因此，研究人员发现有必要开展研究，以振兴传统库杜号角的音乐用途。尽管文化不是一成不变的，但研究人员发现，文化的这一方面与进行研究的巴克维纳人的当前生活状况有关。这项研究的目的是找出巴克韦纳人仍然在练习什么，以及可以记录哪些内容以供未来使用和参考。进行这类研究的主要原因是，lenaka la tholo的性能几乎已经过时，博茨瓦纳的老年人和年轻人非常需要复兴它。在他们的年度访问中，研究人员通过口头采访、录音和观察仪器的实际结构及其性能来收集数据。在进行研究的过程中，还从书籍、期刊和互联网等不同的存储库中获得了一些信息。
{"title":"Revitalising the Traditional Use of the Kudu Horn by the Bakwena of Botswana","authors":"O. Phibion, Fana Rabatoko","doi":"10.1080/18125980.2021.1905540","DOIUrl":"https://doi.org/10.1080/18125980.2021.1905540","url":null,"abstract":"Abstract This article reports on research that was conducted among the Bakwena at the Molepolole main Kgotla (Tribal Administration Centre or traditional law court) as the chief’s place is known in Setswana (the Tswana language spoken in Botswana) in the Kweneng District of Botswana. The researchers were motivated by the information they gathered during their annual ethnomusicology class excursions to Molepolole. The research focused on the revitalisation and conservation of the traditional use of the lenaka la tholo (Setswana for kudu horn) through observation of its construction and practical performances. Nowadays, young people do not consider practising traditional music. Thus, the researchers found it necessary to embark on the research to revitalise the musical use of the traditional kudu horn. Much as culture is not static, the researchers found this aspect of culture to be relevant to the current life situation of the Bakwena among whom the research was conducted. The aim of the research was to find out what the Bakwena still practise as well as what could be documented for future use and reference about kudu horn blowing. The main reason for conducting this type of research is that performance of the lenaka la tholo is almost obsolete and there is a great need for its revival among the elders and youth of Botswana at large. During their annual visits, the researchers collected data by means of oral interviews, recordings, and observation of practical construction of the instrument and its performances. In carrying out the research, some information was also obtained from different repositories such as books, journals and the internet.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"40 - 50"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1905540","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47624653","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 : 2020-07-02DOI: 10.1080/18125980.2021.1927806
B. Gorelik
Abstract Despite the enduring international popularity of the Zulu Christian chorus “Siyahamba” as a song of protest and praise, South African ethnomusicologists have not yet investigated its origins as well as its cultural and political significance. This article reports the results of an historical study which indicated that the earliest documented performance of the chorus took place in Dundee in the current uMzinyathi district of the former Natal province (now KwaZulu-Natal or KZN), South Africa, in 1952. No earlier publications or handwritten records of its score or lyrics have been found. However, it appears that this musical work has a longer undocumented history, connected to rural Methodist or Pentecostalist communities of the province. It originated in a church environment as a devotional chorus and grew to be closely associated with the anti-apartheid movement after it was adopted by the international campaign against the racist regime from the mid-1980s. “Siyahamba” has been perceived both locally and internationally as a popular song of praise with a strong political significance thanks to the popular songbook Freedom Is Coming by Anders Nyberg, the Swedish-South African composer and choral conductor, who made the earliest known field recording of the chorus, and dozens of influential hymnals that include “Siyahamba”. Chanted at rallies and public events, the historic South African tune continues to encourage campaigners for change worldwide.
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