DOCSLIB.ORG

Thesis Mudzanire B.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

AN INTERROGATION OF THE CONTEXT REFERENTIALITY OF POSTCOLONIAL SHONA POPULAR MUSIC IN ZIMBABWE: A SEARCH FOR THE CONTEMPORARY LEITMOTIFS By BENJAMIN MUDZANIRE submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject AFRICAN LANGUAGES at the UNIVERSITY OF SOUTH AFRICA PROMOTER: PROF D.E. MUTASA JOINT-PROMOTER: PROF M.L. MOJAPELO NOVEMBER 2016 DECLARATION Student Number: 47337966 I, Benjamin Mudzanire, declare that An interrogation of the context referentiality of postcolonial Shona popular music in Zimbabwe: a search for the contemporary leitmotifs is my own work and that the sources I have used or quoted have been indicated and acknowledged by means of complete references. ………………. 30 November 2016 Signature Date i Dedication I dedicate this thesis to the memory of my late father, educator and philanthropist, Samson Karekwaivanane Mudzanire, whose passion for education and humanity tremendously inspired me. ii Acknowledgements I am eternally grateful to the scholarly and frank guidance of my promoter and co- promoter, Professors D.E. Mutasa and M.L. Mojapelo; the duo that personifies rigour and academic excellence. Many thanks go to the UNISA Financial Aid Bureau for the support. Without your assistance, pursuing the programme would have been aborted at the dream level. In no small measure, I thank the Great Zimbabwe University Research and Post Graduate Studies for availing travel funds for consultations with supervisors. I also recognise the sacrifice and endurance of family members; my wife, Vimbai and our boys, Honour and Victory. I wish to extend my sincere gratitude to all those who helped me in so many ways during the writing of this thesis. Special thanks go to Dr Mickson Mazuruse who has been a well of encouragement throughout. Professors Shumirai Nyota, Jacob Mapara, Dr. Kuda Mapetere and VaK.T. Gondo; you have always been supportive of the project. iii ABSTRACT The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessment of the discourse of politics and socio-economic issues in popular music. For all the analysis, an Afrocentric eye view informs the thesis. Being qualitative in perspective, the research mainly uses the hermeneutic research design as an operational framework for the interpretation of lyrical data. Hermeneutics, as a method of textual analysis, emphasizes the socio-cultural and historic influences on qualitative interpretation. Postcolonial Shona popular music is purposively sampled and critically studied using the hermeneutic method to tease out latent social and political nuances in lyrical data. Interviews are roped in as alternative opinions to validate hermeneutic data. The research observes that the legislative environment in which Zimbabwean popular music is composed is, on paper, very conducive for the art but in practice severely restrictive. The constitution allows the artiste sufficient space to sing any subject but confessions by some critics alert on the incidences of some censored products. Even against that backdrop artistes have gone on to compose politically suggestive music. However, from the first decade of independence, the tendency for the artiste has been to flow with the meta-narrative or hegemonic discourses of the state, while in the later decades the artiste sounds critical of the nationalist government. Realising the power of music to articulate serious national issues; among other prescriptions, the study recommends that government creates a flexible and democratic legislation that allows for unbounded creativity and consumption of artistic products. iv Key words Censorship, referentiality, motif, leitmotif, composition, lyrics, sociality, popular music, counter-narrative, meta-narrative v TABLE OF CONTENTS Declaration…………………………………………………………………………..........i Dedication…………………………………………………………………………….......ii Acknowledgements………………………………………………………………….......iii Abstract………………………………………………………………………………........iv Key words ………………………………………………………………………………...v List of tables………………………………………………………………………………xii CHAPTER 1: INTRODUCTION 1 1.0 Preamble 1 1.1Background 2 1.1.1 Pre-colonial Shona music and social context 2 1.1.2 Shona music during the colonial period 6 1.1.3 The postcolonial period 10 1.2 Towards a working definition of popular music 11 1.3 Statement of problem 12 1.4 Aim of the research 13 1.4.1 Objectives 13 1.4.2 Research questions 14 1.5 Justification 14 1.6 Key words 17 1.7 Scope of study 18 1.8 Conclusion 19 CHAPTER 2: LITERATURE REVIEW 21 2.0 Introduction 21 2.1 The nature of music 21 2.1.1 Music as communication 25 2. 2.0 Language and music 28 2.2.1 Music as literature 29 2.3 The use of figurative language in music 32 2.4 Music appreciation 34 2.5 The role of music in society 36 vi 2.5.1 Global trends in music and socio-political context 37 2.5.2 Regional trends in music and socio-political context 42 2.6 Music in colonial Zimbabwe 46 2.7 Postcolonial music literature in Zimbabwe 48 2.8 Music censorship and freedom of expression 52 2.8.1 Freedom of expression 53 2.8.2 Music censorship 54 2.8.3 Agents of music censorship 60 2.9 Conclusion 63 CHAPTER 3: THEORETICAL FRAMEWORK 64 3.0 Introduction 64 3.1 The sociological approach 65 3.1.1 New historicism 67 3.1.2 Marxism and popular music 75 3.1.3 Afrocentricity 78 3.1.4 Africana womanism 81 3.2 Conclusion 84 CHAPTER 4: RESEARCH METHODOLOGY 85 4.0 Introduction 85 4.1 The qualitative research paradigm 85 4.1.1 Research design 87 4.1.2 Hermeneutics 88 4.1. 2.1 Characteristics of hermeneutics 89 4.1.2.2 Basic hermeneutic questions and authorial assumptions 99 4.1.2.2.1 Precautionary authorial assumptions 99 4.1.2.3 Hermeneutics and qualitative research 105 4.1.3 Data gathering techniques 106 4.1.3.1 Interviews 106 4.1.3.1.1 Advantages of interviews 107 4.1.3.1.2 A cautionary note on interviews 108 vii 4.1.3.2 Document analysis 109 4.1.3.2.1 Merits 110 4.1.3.2.2 Cautionary points 111 4.1.3.3 Choosing research subjects 111 4.1.3.3.1 Judgemental sampling method 111 4.1.3.3.1.1 Advantages of purposive sampling 112 4.1.3.3.1.2 Cautionary points 113 4.1.3.3.2 Sampling of music critics 113 4.1.3.3.3 Sampling of music 113 4.1.3.3.4 Sampling of music consumers 113 4.1.3.4 Transcription of music 114 4.1.3.5 Translation of music 114 3.1.4 Data presentation and analysis 115 4.1.5 Ethical considerations 116 4.2 Conclusion 118 CHAPTER 5: LEGAL AND POLITICAL MOTIFS 119 5.0 Introduction 119 5.1 Analysis of legal documents 120 5.1.1 Legislation 120 5.1.1.1 Freedom of expression 120 5.1.1.2 The Censorship and Entertainments Control Act [Chapter 10:04] 123 5.1.1.3 Broadcasting Services Act 128 5.1.1.4 The 75% Local Content regulation 130 5.2 Analysis of songs with a political motif 132 5.2.1 Independence euphoria 133 5.2.2 War memories 140 5.2.3 The call for unity 144 5.2.4 Exploitation of the subaltern 151 5.2.5 The land question 160 5.2.6 Corruption 171 5.2.7 Political violence 176 viii 5.2.8 Political polarisation 187 5.3 Analysis of Interviews 194 5.3.1 Profile of interviewees 195 5.3.2 Interviewee responses 197 5.3.2.1 Freedom of expression 197 5.3.2.2 Censorship 201 5.3.2.3 Reflections on independence 206 5.3.2.4 War memories 209 5.3.2.5 National unity 210 5.3.6 Exploitation of the subaltern 211 5.3.7 Politcal party music 212 5.3 Conclusion 213 CHAPTER 6: SOCIO-ECONOMIC LEITMOTIFS IN SHONA MUSIC 215 6.0 Introduction 215 6.1 Analysis of songs with a socio-economic motif 215 6.1.1 Culture 215 6.1.2 The concept of unhu/ubuntu 223 6.1.3 Romantic expressions 227 6.1.4 Domestic violence 234 6.1.5 Divorce 241 6.1.6 The HIV/AIDS conundrum 245 6.1.7 Gender issues 251 6.1.8 Poverty 262 6.1.9 Escaping home: Diasporan discourses in popular music 270 6.2 Analysis of Interviews 279 6.2.1 Music and culture 280 6.2.2 Marriage and family issues 282 6.2.3 Romantic expressions 284 6.2.4 Gender 286 6.2.5 Economic issues 288 6.2.6 Diasporan discourses 290 ix 6.3 Conclusion 294 CHAPTER 7: DISCUSSION 295 7.0 Introduction 295 7.1 The creative environment of music 295 7.1.1The escape route 300 7. 2 Political motifs 302 7.2.1Sustaining nationalist meta-narratives 302 7.2.1.1 Immediate post-independence reflections 303 7.2.2 Counter-narrating the vision of the state 307 7.2.2.1 Land 308 7.2.2.2 Corruption 309 7.2.2.3 Political violence 310 7.2.2.4 Political polarisation 312 7.3 Socio-economic issues 313 7.3.1 Culture 314 7.3.2 Romantic expressions 315 7.3.3 Domestic violence and divorce 317 7.3.4 The HIV and AIDS pandemic 319 7.3.5 Gender 320 7.3.6 Poverty 323 7.3.7 Escaping home: diasporan discourses in popular music 326 7.4 Conclusion 328 CHAPTER 8: CONCLUSION 329 8.0 Introduction 329 8.1 Research findings 329 8.2 Recommendations of the study 335 RERERENCES 337 APPENDICES 373 APPENDIX A: Music critics 373 APPENDIX B: Artiste Interview 374 APPENDIX C: Interview guide: music listeners 375 x APPENDIX D: Interviews with diasporans 377 APPENDIX E: Curriculum Vitae for Mudzanire Benjamin 378 xi List of Tables Table 1: Authorial assumptions...............................................................................99 xii CHAPTER 1: INTRODUCTION 1.0 Preamble The role of music as an articulate record of a people‘s culture and history has largely gone undocumented in national and international discourses.
Recommended publications
  • Sounds of War and Peace: Soundscapes of European Cities in 1945

    Sounds of War and Peace: Soundscapes of European Cities in 1945

    10 This book vividly evokes for the reader the sound world of a number of Eu- Renata Tańczuk / Sławomir Wieczorek (eds.) ropean cities in the last year of the Second World War. It allows the reader to “hear” elements of the soundscapes of Amsterdam, Dortmund, Lwów/Lviv, Warsaw and Breslau/Wrocław that are bound up with the traumatising experi- ences of violence, threats and death. Exploiting to the full methodologies and research tools developed in the fields of sound and soundscape studies, the Sounds of War and Peace authors analyse their reflections on autobiographical texts and art. The studies demonstrate the role urban sounds played in the inhabitants’ forging a sense of 1945 Soundscapes of European Cities in 1945 identity as they adapted to new living conditions. The chapters also shed light on the ideological forces at work in the creation of urban sound space. Sounds of War and Peace. War Sounds of Soundscapes of European Cities in Volume 10 Eastern European Studies in Musicology Edited by Maciej Gołąb Renata Tańczuk is a professor of Cultural Studies at the University of Wrocław, Poland. Sławomir Wieczorek is a faculty member of the Institute of Musicology at the University of Wrocław, Poland. Renata Tańczuk / Sławomir Wieczorek (eds.) · Wieczorek / Sławomir Tańczuk Renata ISBN 978-3-631-75336-1 EESM 10_275336_Wieczorek_SG_A5HC globalL.indd 1 16.04.18 14:11 10 This book vividly evokes for the reader the sound world of a number of Eu- Renata Tańczuk / Sławomir Wieczorek (eds.) ropean cities in the last year of the Second World War. It allows the reader to “hear” elements of the soundscapes of Amsterdam, Dortmund, Lwów/Lviv, Warsaw and Breslau/Wrocław that are bound up with the traumatising experi- ences of violence, threats and death.
  • Abstract Why We Turn the Page: a Literary Theory Of

    Abstract Why We Turn the Page: a Literary Theory Of

    ABSTRACT WHY WE TURN THE PAGE: A LITERARY THEORY OF DYNAMIC STRUCTURALISM Justin J. J. Ness, Ph.D. Department of English Northern Illinois University, 2019 David J. Gorman, Director This study claims that every narrative text intrinsically possesses a structure of fixed relationships among its interest components. The progress of literary structuralism gave more attention to the static nature of what a narrative is than it did to the dynamic nature of how it operates. This study seeks to build on the work of those few theorists who have addressed this general oversight and to contribute a more comprehensive framework through which literary critics may better chart the distinct tensions that a narrative text cultivates as it proactively produces interest to motivate a reader’s continued investment therein. This study asserts that the interest in narrative is premised on three affects— avidity, anxiety, and curiosity—and that tensions within the text are developed through five components of discourse: event, description, dialog, sequence, and presentation. NORTHERN ILLINOIS UNIVERSITY DEKALB, ILLINOIS MAY 2019 WHY WE TURN THE PAGE: A LITERARY THEORY OF DYNAMIC STRUCTURALISM BY JUSTIN J. J. NESS ©2019 Justin J. J. Ness A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH Dissertation Director: David J. Gorman ACKNOWLEDGMENTS David Gorman, the director of my project, introduced me to literary structuralism six years ago and has ever since challenged me to ask the simple questions that most people take for granted, to “dare to be stupid.” This honesty about my own ignorance was—in one sense, perhaps the most important sense—the beginning of my life as a scholar.
  • 1. Matome Ratiba

    1. Matome Ratiba

    JICLT Journal of International Commercial Law and Technology Vol. 7, Issue 1 (2012) “The sleeping lion needed protection” – lessons from the Mbube ∗∗∗ (Lion King) debacle Matome Melford Ratiba Senior Lecturer, College of Law University of South Africa (UNISA) [email protected] Abstract : In 1939 a young musician from the Zulu cultural group in South Africa, penned down what came to be the most popular albeit controversial and internationally acclaimed song of the times. Popular because the song somehow found its way into international households via the renowned Disney‘s Lion King. Controversial because the popularity passage of the song was tainted with illicit and grossly unfair dealings tantamount to theft and dishonest misappropriation of traditional intellectual property, giving rise to a lawsuit that ultimately culminated in the out of court settlement of the case. The lessons to be gained by the world and emanating from this dramatics, all pointed out to the dire need for a reconsideration of measures to be urgently put in place for the safeguarding of cultural intellectual relic such as music and dance. 1. Introduction Music has been and, and continues to be, important to all people around the world. Music is part of a group's cultural identity; it reflects their past and separates them from surrounding people. Music is rooted in the culture of a society in the same ways that food, dress and language are”. Looked at from this perspective, music therefore constitute an integral part of cultural property that inarguably requires concerted and decisive efforts towards preservation and protection of same from unjust exploitation and prevalent illicit transfer of same.
  • 02955 the Aesthetics of Violence OA

    02955 the Aesthetics of Violence OA

    Political Violence and the Tellability of Tales Frode Helmich Pedersen It is a common perception that stories of sex and violence sell, and that it is therefore only to be expected that journalists and editors will, as a rule, favor stories about violence over narratives of a less dramatic kind. Not all stories of violence are equally publishable, however. Some stories of violence are intuitively understood to be “ft to print,” as the slogan goes, whereas others are, for a variety of reasons, deemed unsuitable for publication. How can we go about investigating this phenomenon? To what extent is it possible to ascertain the mechanisms that determine which stories of political violence are covered by Western news media and which are most likely ignored or suppressed? Two approaches to these questions come to mind. Te frst is the media critique put forward by Noam Chomsky and Edward Herman in their 1988 book Manufacturing Consent, where the central thesis is that the news stories that make the headlines in the established US press are the ones that tend to serve the interests of US state and corporate power. Te second approach 83 the aesthetics of violence is Slavoj Žižek’s critical analysis of the phenomenon of violence in his book Violence. Six sideways refections (2009), where his distinction between “subjective” and “objective” violence is of particular relevance to the question outlined above. While both of these approaches (which are primarily con- cerned with questions of ideology) are useful tools in any analysis of how Western news media cover cases of violence, they lack a theoretical perspective of the story format, which is almost always the form in which an individual phenomenon of violence is repre- sented and circulated.
  • Form L5: Title Registration/08

    Form L5: Title Registration/08

    NICO CARSTENS AS INNOVEERDER VAN SUID-AFRIKAANSE POPULÊRE MUSIEK Susanna Helena Robina Louw Voorgelê om te voldoen aan die vereistes vir die graad MAGISTER MUSICAE in die Fakulteit Geesteswetenskappe, Departement Musiek, aan die Universiteit van die Vrystaat Studieleier: Prof. N.G.J. Viljoen Medestudieleier: Prof. M. Viljoen Januarie 2013 VERKLARING Ek verklaar hiermee dat die verhandeling wat hierby vir die graadMagister Musicae aan die Universiteit van die Vrystaat deur myingedien word, my selfstandige werk is en nie voorheen deurmy vir ’n graad aan ’n ander universiteit/fakulteit ingedien isnie. Ek doen voorts afstand van die outeursreg op dieverhandeling ten gunste van die Universiteit van die Vrystaat. ____________________________________ i ERKENNINGS By die voltooiing van hierdie verhandeling is dit die behoefte van my hart om persone en instansies wat my op een of ander wyse met genoemde materiaal behulpsaam was, opreg te bedank: My studieleier, prof Nicol Viljoen, en mede-studieleier, prof. Martina Viljoen, vir hulle besondere kundige leiding in alle fases en fasette van hierdie navorsing. SAMRO, vir die beskikbaarstelling van navorsingmateriaal, maar veral aan dié personeel wat genoemde materiaal so goedgunstiglik behulpsaam was. SABC en hulle Argief vir klank- en beeldmateriaal. Die FAK/SAMRO/National Arts Council of South Africa, vir finansiële bystand om hierdie projek te voltooi. Ingrid Howard, wat as behulpsame tussenganger opgetree het in my kontak en ontmoetings met Nico Carstens. Corrie Geldenhuys, vir die taalkundige versorging van die teks. Nico, die inligting hierin vervat, is net ’n fraksie van alles wat ek van jou ontvang het. Geen akademiese geskrif kan in elk geval vriendelikheid, openhartigheid en gasvryheid omskryf nie.
  • The Development of the Liberation War Novel

    The Development of the Liberation War Novel

    CORE Metadata, citation and similar papers at core.ac.uk Provided by Unisa Institutional Repository INTERFACE OF HISTORY AND FICTION: THE ZIMBABWEAN LIBERATION WAR NOVEL By ITAI MUWATI UNIVERSITY OF SOUTH AFRICA NOVEMBER 2009 INTERFACE OF HISTORY AND FICTION: THE ZIMBABWEAN LIBERATION WAR NOVEL By ITAI MUWATI submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of African Languages at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF D E MUTASA JOINT SUPERVISOR: DR M L BOPAPE NOVEMBER 2009 DECLARATION Student number: 4310-995-0 I declare that Interface of History and Fiction: The Zimbabwean Liberation War Novel is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. 30 September 2009 Signature Date i ACKNOWLEDGEMENTS I want to acknowledge first and foremost, the efforts of and the selflessness shown by my Promoter, Professor Davie E. Mutasa. His encouragement and belief in me made me walk what appeared to be an unwalkable doctoral research journey. I am also very thankful to my Co-Promoter, Doctor Malekutu L. Bopape, who, together with Professor Mutasa, convinced me that I was intellectually tall each time I felt I was short. These two men’s views and expert guidance helped significantly in shaping this thesis. My gratitude also goes to the Financial Aid Bureau (FAB) which offered me a bursary that enabled me to pursue doctoral studies with the University of South Africa. I am further thankful to Professor Zifikile Gambahaya, my mentor and colleague, who allowed me unfettered access to her library and other resources.
  • Greger-2 Korr

    Greger-2 Korr

    The Book and Its Narratives 1 2 Örebro Studies in Literary History and Criticism 1 GREGER ANDERSSON The Book and Its Narratives: A Critical Examination of Some Synchronic Studies of the Book of Judges 3 © Greger Andersson, 2001 Titel: The Book and Its Narratives: A Critical Examination of Some Synchronic Studies of the Book of Judges Utgivare: Universitetsbiblioteket 2001 www.oru.se/ub/publikationer/index.html Skriftserieredaktör: Joanna Israelsson-Kempinska Redaktör: Heinz Merten Tryck: Parajett, Landskrona 04/2001 Tryck, omslag: Trio Tryck, Örebro 04/2001 issn 1650-5840 isbn 91-7668-276-5 4 Abstract 11 Preface 12 1. INTRODUCTION I. Introduction 13 A Search for a Meaningful and Interpretable Text 13 The Book of Judges as Literature 15 The Book and the Narratives 16 A Topic for a Literature Department 17 Method 18 Interpretation – A Difficult Concept 18 A Specific Language Game 19 Material 20 The Book of Judges and the Deuteronomistic History 21 The Book of Judges 22 Two Problems for the Common Reader and for the 24 Professional Interpreter of the Book Disposition 25 Chapters II–IV 25 Chapters V–VIII 26 II. THE STORY ABOUT EHUD – A SIMPLE NARRATIVE? II. The Story about Ehud – A Simple Narrative? 35 Some Comments on the Text 35 Chapter 3:12–17 35 Chapter 3:18–26 37 Chapter 3:27–30 39 A Simple Story 39 Fiction or History? 40 A “Narration-Narrative” 40 The Narrative and the Larger Text 42 Synchronic Scholars 43 The Narrative Displays a Theme in the Larger Text 43 The Narrative Is Transformed into an Episode 44 Within a Larger Narrative 5 Is Ehud an Antihero? 45 The Narrative Displays a Hermeneutic Discussion 46 How Should These Divergent Interpretations Be Explained? 46 The Interpretations of the Synchronists Cannot Be Synthesized 47 How Can These Interpretations Be Evaluated and Explained? 47 How Can the View That Ehud Is an Antihero Be Explained? 47 A Narrative Integrated into a Larger Text 48 III.
  • Mahlathini Melodi Yalla Mp3, Flac, Wma

    Mahlathini Melodi Yalla Mp3, Flac, Wma

    Mahlathini Melodi Yalla mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Melodi Yalla Country: South Africa Released: 2007 Style: African MP3 version RAR size: 1904 mb FLAC version RAR size: 1363 mb WMA version RAR size: 1235 mb Rating: 4.9 Votes: 389 Other Formats: DXD MPC DMF AAC MP2 TTA DTS Tracklist 1 Gazette 2 Melodi Yalla 3 Thuntswane Basadi 4 Thuto Kelefa 5 Bonang Suna 6 Reya Dumedisa 7 Mme Ngwana Walla 8 Jive Makgona Companies, etc. Marketed By – Gallo Record Company Distributed By – Gallo Record Company Record Company – Gallo-GRC Record Co. (Pty) Ltd. Recorded At – RPM Studios Copyright (c) – Gallo Record Company Published By – Gallo Music Publishers Credits Songwriter – Mahlathini And The Mahotella Queens Notes Reissue in Digital from a 1988 LP Barcode and Other Identifiers Barcode: 6 001212 266134 Matrix / Runout: IFPI L142 WWW.CDT.CO.ZA CDBL617-1 Mastering SID Code: IFPI L142 Mould SID Code: IFPI 2727 Other versions Category Artist Title (Format) Label Category Country Year Mahlathini*, Mahotella Mahlathini*, Queens and the Gallo-GRC Mahotella Queens South BL 617 Makgona Tsotle Band* - Record Co. BL 617 1988 and the Makgona Africa Melodi Yalla (LP, (Pty) Ltd. Tsotle Band* Album) Related Music albums to Melodi Yalla by Mahlathini Mahlathini And The Mahotella Queens - Thokozile Mahlathini & Mahotella Queens - Umuntu Mfaz' Omnyama - Khula Tshitshi Lami The Art Of Noise Featuring Mahlathini And The Mahotella Queens - Yebo! Ladysmith Black Mambazo - Favourites Mahotella Queens - Izibani Zomgqashiyo Johannes Kerkorrel - Tien Jaar Later El Gallo Rojo - El dìa de los muertos Mahlathini Nezintombi Zomgqashiyo - Pheletsong Ya Lerato Patricia Majalisa - Poverty.
  • 'Women of Mbube: We Are Peace, We Are Strength'

    'Women of Mbube: We Are Peace, We Are Strength'

    Music News Release: for immediate use ‘Women of Mbube: We are peace, we are strength’ - New Album from Nobuntu “… joy seems central to Nobuntu's existence: it's present in their glorious singing, their expressive dancing, even in their dress - plaids, stripes, florals in colours as exuberant as their vocals.” cltampa.com Album: Obabes beMbube (‘Women of Mbube’) Artists: Nobuntu Genre: African Mbube Speciality: Female a cappella group Language: Ndebele Label: 10th District Music/Zimbabwe Release: 24 November, 2018 It takes courage, persistence and a great deal of talent to create new songs in a genre of already impeccable standards. Zimbabwean five-piece, Nobuntu are blessed with all three. ‘Obabes beMbube’ is Nobuntu’s new 13-song album of mbube music sung in Ndebele celebrating life, nature, divine inspiration and the power of music as a healing force. Five strong female voices beautifully blended singing a cappella harmonies. ‘Obabes beMbube’ builds on the success of ‘Thina’ and ‘Ekhaya’ which were released in 2013 and 2015 respectively. The music represents a bold shift from the previous bodies of work which featured a fusion of afro jazz, a cappella, gospel and traditional folk tracks. The album name ‘Obabes beMbube’ is Ndebele for ‘women of mbube’, an assertion of Nobuntu’s position as a musical force in a genre that is traditionally a male domain. Mbube (Zulu for ‘lion’, pronounced ‘eem-boo-bay’) was released as the song (‘The Lion Sleeps Tonight’) ‘Mbube’ written by Solomon Linda in Johannesburg and released through Gallo Record Company in 1939. ‘Mbube’ became a UK and USA #1 hit single in 1969 by the Tokens – and is now the name widely used for the South African a cappella genre, mbube.
  • Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge

    Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge

    Mhishi, Lennon Chido (2017) Songs of migration : experiences of music, place making and identity negotiation amongst Zimbabweans in London. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/26684 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Songs of Migration: Experiences of Music, Place Making and Identity Negotiation Amongst Zimbabweans in London Lennon Chido Mhishi Thesis submitted for the degree of PhD Anthropology and Sociology 2017 Department of Anthropology and Sociology SOAS, University of London 1 I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.
  • Popular Expressions of Southern African Nationalism(S): Convergences, Divergences, and Reconciliations in South Africa and Zimbabwe

    Popular Expressions of Southern African Nationalism(S): Convergences, Divergences, and Reconciliations in South Africa and Zimbabwe

    POPULAR EXPRESSIONS OF SOUTHERN AFRICAN NATIONALISM(S): CONVERGENCES, DIVERGENCES, AND RECONCILIATIONS IN SOUTH AFRICA AND ZIMBABWE By Blessing Shingirirai Mavima A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies – Doctor of Philosophy 2019 ABSTRACT POPULAR EXPRESSIONS OF SOUTHERN AFRICAN NATIONALISM(S): CONVERGENCES, DIVERGENCES, AND RECONCILIATIONS IN SOUTH AFRICA AND ZIMBABWE By Blessing Shingirirai Mavima Popular Expressions of Pan-Africanism and Southern African Nationalism(s): Convergences, Divergences, and Reconciliations in South Africa and Zimbabwe is a dissertation study that traces the transformations, reveals the tensions, and critically analyzes diverging and converging trajectories of different manifestations of African nationalism, including ethnic nationalism, state nationalism, and Pan-Africanism using contemporary South Africa and Zimbabwe as sites of analyses. Focusing on the metropolitan provinces of Gauteng and Harare respectively, I use the study to interrogate how popular expressions of African nationalism have emerged and evolved in the neighboring nations during their anti-colonial/anti-apartheid struggles throughout the 20 th century, and how they exist today. Presenting a thesis that I call nationalisms from below, the research study reveals how these manifestations of nationalism are imagined, practiced, and represente d by the initiatives and actions of different members of the civil society including artists, activists, laborers, and migrants in the two countries’ contemporary politics and society. My findings lead to a nuanced determination of the factors that influence the intersections, divergences, and convergences of what I refer to in the study as Africa’s tripartite nationalist expressions and identities—ethnicism, African Nationalism, and Pan- Africanism.
  • A Supply Chain Model For

    A Supply Chain Model For

    University of Pretoria etd – Steyn, M M (2005) 32 CHAPTER 2 MAJOR PLAYERS OPERATING IN THE LOCAL RECORDING INDUSTRY 2.1 Introduction 34 2.2 Record industry terminology 35 2.2.1 Music publishing 35 2.2.2 Copyright 35 2.2.3 Publishing revenues 35 2.3 South African governing bodies 37 2.4 The artist 38 2.4.1 The individual artist or band 38 2.4.2 The signed artist or band 38 2.4.3 Artists’ governing bodies 39 2.5 The record company 40 2.5.1 Main functions 40 2.5.2 Types of record companies 41 2.5.2.1 The Majors 42 2.5.2.2 The Independents 47 2.5.3 Record company governing bodies 48 2.6 The trade 49 2.6.1 Wholesalers 50 2.6.2 Dealers 50 2.6.3 Retailers 50 2.6.4 Independent stores 51 University of Pretoria etd – Steyn, M M (2005) 33 2.7 The consumer 52 2.8 Summary 58 University of Pretoria etd – Steyn, M M (2005) 34 2 MAJOR PLAYERS OPERATING IN THE LOCAL RECORDING INDUSTRY 2.1 Introduction Chapter 1 of this thesis centred around the study of the supply chain management (SCM) process, in other words all the logistical aspects related to delivering a product to market. The first chapter also contained a basic overview of selected terminology associated with SCM, such as forecasting, benchmarking and achieving and maintaining a competitive advantage. The static and strategic components which influence the channel strategy were also discussed. Chapter 2 documents the local players which are currently participating in these SCM processes of the South African recording industry.