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Contemporary South African Popular Music Among Durban Adole

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Contemporary South African Popular Music Among Durban Adole Sarah Isabel Ralfe Local is Le-kker? A study of the perceptions of ­ contemporary South African popular music among Durban adolescents at five culturally diverse schools in the greater Durban area. Durban 2005 Sarah Isabel Ralfe Local is Lekker? A study of the perceptions of contemporary South African popular music among Durban adolescents at fi"e culturally diverse schools in the greater Durban area. Durban 2005 Submitted in partial fulfillment of the requirement of the degree of Master of Music, in the Department of Music, University of KwaZulu-Natal Unless specifically indicated to the contrary in this text, this thesis is my own original work. Sarah Isabel Ralfe Acknowledg ments There are many people in my life without whose support this would have been an impossible task. I would like to thank: My supervisor, Chris Ballantine for his guidance, support, patience and eternal wisdom. My parents for offering their endless support and letting me follow my dreams. My mother who read and edited every word of this thesis and was constantly on call for any crisis and my father who always believes I am the best at everything! My siblings, Kate, Joanne and Thabo, who supplied me with endless cups of tea and were very helpful in the capturing and transcribing of the data. My friends, especially Nicole, Gundula, Clint and Neville, who always offered a shoulder to cry on and dragged me away from my work often! The principle, staff and Grade 11 's of 2003 at Bonela Secondary, Gelofte Skool, Thomas More College, Hillcrest High School and Sastri College who wiilingly participated in this study. Abstract Is local lekker? This study looks at the perceptions the youth in Durban hold towards local music. Through a study of the Grade 11 learners at Bonela Secondary, Gelofte Skool, Hillcrest High School, Thomas More College and Sastri College this research looks at how much support is offered for local music. It considers how much local music the respondents listen to, how much they purchase and how many local concerts they attend. This study also considers the mediathat the respondents are exposed to,in order to· discover if any correlation occurs between the media that they are exposed to and their perception of local music. The impact of globalization and cultural imperialism on the consumption of local music are also considered. In addition, the study looks at whether variables such as gender, school, "race" or the home language of the respondents impact on their support for local music. Both qualitative and quantitative data was collected. The respondents were required to respond to a questionnaire which elicited responses concerning their perceptions of local music, their support for local music and the media that they are exposed to. From the questionnaires a group of respondents of differing views, genders and home languages was selected to participate in a focus group interview. Results show that the respondents support very little in the way of local music, with regard to listening to local music, purchasing local music and supporting local concerts. They are exposed to a great deal of foreign material and do not have much exposure to local products. Table of Contents CHAPTER 1 INTRODUCTION 1 SIGNIFICANCE OF A STUDY OF THIS NATURE IN SOUTH AFRICA 1 KEY QUESTIONS TO BE ASKED 2 DATA COLLECTION METHODS 3 OUTLINE OF CONTENT 6 CHAPTER 2 LITERATURE REViEW 8 DEFINING THE TERRAIN 8 YOUTH AND MUSIC USE 10 IDENTITY AND MUSIC CHOICE 12 SUBCULTURES 14 THE INFLUENCE. EFFECTS AND POWER OF THE MEDIA 16 GLOBALIZATION AND CULTURAL IMPERIALISM 24 THE WORKINGS OF THE INDUSTRy 27 CHAPTER 3 THE SOUTH AFRICAN SCENE.•...................................................................... 31 THE STATE OF THE YOUTH IN SOUTH AFRICA ; 31 THE MEDIA IN SOUTH AFRICA 33 Radio 33 Television 36 Magazines 38 Technology 39 THE NIGHTCLUB SCENE IN DURBAN 40 DESCRIPTION OF THE CURRENT STATE OF THE SOUTH AFRICAN MUSIC INDUSTRY 40 CHAPTER 4 ANALYSIS AND INTERPRETATION OF QUANTITATIVE RESULTS (QUESTIONNAIRE) 50 RESPONSES TO THE QUESTIONNAIRE ..,, 52 CD OWNERSHIP ........................................................•................................................................60 LOCAL LIVE CONCERTS 63 PERCEPTIONS OF LOCAL POPULAR Music 65 LOCAL POPULAR MUSIC AND RADIO 69 THE QUOTA 74 LOCAL POPULAR MUSIC AND THE MEDIA 78 ACCESS TO DSTV AND THE PERCEPTIONS OF LOCAL POPULAR MUSIC 78 TELEVISION MUSIC PROGRAMMES 81 MAGAZINES AND LOCAL POPULAR MUSIC 83 CONCLUSiONS 84 CHAPTERS ANALYSIS AND INTERPRETATION OF QUALITATIVE RESULTS (GROUP INTERVIEW) 90 SOUTH AFRICAN POPULAR MUSIC 90 THE SUPPORT OF LOCAL LIVE CONCERTS 92 THE INFLUENCE OF RADIO STATIONS 95 THE QUOTA 96 THE SEGMENTATION OF THE MARKET 98 LOCAL MUSIC AND THE MEDIA 101 CONCLUSiONS 104 CHAPTER 6 CONCLUSION 108 SUMMARY OF THE RESEARCH 108 ISSUES FOR FURTHER RESEARCH 112 IMPLICATIONS OF THIS STUDY 113 CONCLUSiON 114 REFERENCES 115 APPENDICES APPENDIX A DESCRIPTION OF SCHOOLS , , 1 APPENDIX B QUESTIONNAIRE " 2 APPENDIX C 1 GROUP INTERVIEW - BONELA SECONDARy 8 APPENDIX C 2 GROUP INTERVIEW - GELOFTE SKOOL. 20 APPENDIXC 3 GROUP INTERVIEW - HILLCREST HIGH SCHOOL. 31 APPENDIXC4 GROUP INTERVIEW- THOMAS MORE COLLEGE 44 APPENDIXC 5 GROUP INTERVIEW - SASTRI COLLEGE , '" '" '" 53 Table Of Figures 1. TEN MOST SELECTED GENRES OF MUSiC ., .. ., ., . ., . ., .. .,.,.. ., . .,53 2. TWELVE MOST LISTENED TO SOUTH AFRICAN BANDS '" 54 3. COMPARISON OF SCHOOL AND THE TWELVE MOST LISTENED TO SOUTH AFRICAN BANDS ,,, , '" , 55 4. COMPARISON OF SCHOOL AND MUSIC LISTENING TIME 59 5; COMPARISON OF SCHOOL AND NUMBER OF COS OWNED;;;;;;;;; ;;;;;;;;..;;;;; ;;;.;; .. ;;; 62 6. NUMBER OF LOCAL CONCERTS ATTENDED 63 7. COMPARISON OF GENDER AND NUMBER OF CONCERTS ATTENDED , S4 8. COMPARISON OF SCHOOL AND RESPONSE TO THE STATEMENT "I ENJOY LISTENING TO SOUTH AFRICAN POPULAR MUSIC" , 66 9. COMPARISON OF GENDER AND RESPONSE TO THE STATEMENT "I ENJOY LISTENING TO SOUTH AFRICAN POPULAR MUSIC" ,. '" 66 10. COMPARISON OF HOME LANGUAGE AND RESPONSE TO THE STATEMENT "I ENJOY LISTENING TO SOUTH AFRICAN POPULAR MUSIC" ,, '" S"! 11. LOCAL POPULAR MUSIC IS AS GOOD AS INTERNATIONAL MUSiC 68 12. FAVOURITE 'RADIO STATIONS ., ., ., .. ., . .,., . ., .. ., ., .. ., . ., . ., ., ., 70 13. COMPARISON OF SCHOOL AND FAVOURITE RADIO STATION 71 14. COMPARISON OF FAVOURITE RADIO STATION AND RESPONSE TO THE STATEMENT "I ENJOY LISTENING TO SOUTH AFRICAN POPULAR MUSiC" 72 15. COMPARISON OF FAVOURITE RADIO STATION AND RESPONSE TO THE STATEMENT "LOCAL POPULAR MUSIC 'SPEAKS' TO ME" '" 74 16. RESPONSE TO THE QUOTA '" 75 17. COMPARISON OF SCHOOL AND RESPONSE TO THE QUOTA " ra 18. COMPARISON OF SCHOOL AND ACCESS TO DSTV '" '" 78 19. COMPARISON OF ACCESS TO DSTV AND RESPONSE TO THE STATEMENT "I ENJOY LISTENING TO SOUTH AFRICAN POPULAR MUSIC 79 20. COMPARISON OF ACCESS TO DSTV AND RESPONSE TO THE STATEMENT "I FEEL THAT LOCAL POPULAR MUSIC IS AS GOOD AS INTERNATIONAL MUSIC" 80 21 C . OMPARISON OF SCHOOL AND MUSIC PROGRAMMES 82 22. NUMBER OF MAGAZINES PURCHASED PER MONTH 83 23. TEN MOST PURCHASED AND READ MAGAZINES , " .. 84 Chapter 1 Introduction Is locallekker? This is a question I have asked myself repeatedly during the course of this research. I had always thought so and I have long been a supporter of South African music. I have seen my fair share of concerts and own my fair share of local recordings, but was I alone in my support? I had assumed that, while support for South African artists was limited during my years at school, support for local bands and artists amongst the youth had grown. It was during my time as accompanist for the Durban Boys' Choir, and after discussions with the teenage members regarding their musical tastes, that the question about support for local mtlsicamongst adolescents began to form in my mind. Had things changed since I was at school or was support as limited as it had ever been? Did the youth have access to South African music and, importantly, after ten years of democracy, were they listening to music that, during my time, was considered to be the music of another "race" group? Had the profile of South African music improved at all? Significance of a Study of this Nature in South Africa I feel that a study of this nature is significant, as it will add to the small amount of literature on South African music and specifically South African popular music. Popular Music Studies in general is a relatively new field of study and has only become significant in South Africa relatively recently. Consequently, there is a lack of research into this field that I hope this study and others like it will attempt to fill. Similarly, it came to my attention while I was collecting research in this area, that there is also little research into South African youth, and specifically adolescents. This study has attempted to address this, albeit in a small way. Christina Williams points out that "[d]espite the debates surrounding media audiences, it seems that little work within popular music studies has engaged with those who consume, listen to and use popular music as part of their everyday lives" (2001: 223). It was with this assertion in mind that I wanted to engage with the youth, as they generally utilise popular music as a part of their everyday lives (Frith, 1983; Bennett, 2000; Thornton, 1995; et al). The impact of the media and music on the youth of South Africa is also an area that is under-researched. Therefore this study will be significant not only for establishing the listening patterns of youth in Durban, but also for informing South African bands, musicians and the South African music industry as a whole about the views that the youth have towards South African music. It will furthermore look at the media that the youth engage with and how their use of media influences their consumption of South African music. Given the relatively recent creation of "the new South Africa" it is also my hope that this research will shed light on how the youth view cultural products, and specifically popular music, emerging from South Africa.
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