A Crash of Drums Durban By
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Published Papers of the Ethnomusicology Symposia
International Library of African Music PAPERS PRESENTED AT THE SYMPOSIA ON ETHNOMUSICOLOGY 1ST SYMPOSIUM 1980, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The music of Zulu immigrant workers in Johannesburg Johnny Clegg Group composition and church music workshops Dave Dargie Music teaching at the University of Zululand Khabi Mngoma Zulu children’s songs Bongani Mthethwa White response to African music Andrew Tracey 2ND SYMPOSIUM 1981, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The development of African music in Zimbabwe Olof Axelsson Towards an understanding of African dance: the Zulu isishameni style Johnny Clegg A theoretical approach to composition in Xhosa style Dave Dargie Music and body control in the Hausa Bori spirit possession cult Veit Erlmann Musical instruments of SWA/Namibia Cecilia Gildenhuys The categories of Xhosa music Deirdre Hansen Audiometric characteristics of the ethnic ear Sean Kierman The correlation of folk and art music among African composers Khabi Mngoma The musical bow in Southern Africa David Rycroft Songs of the Chimurenga: from protest to praise Jessica Sherman The music of the Rehoboth Basters Frikkie Strydom Some aspects of my research into Zulu children’s songs Pessa Weinberg 3RD SYMPOSIUM 1982, UNIVERSITY OF NATAL and 4TH SYMPOSIUM 1983, RHODES UNIVERSITY CONTENTS: The necessity of theory Kenneth Gourlay Music and liberation Dave Dargie African humanist thought and belief Ezekiel Mphahlele Songs of the Karimojong Kenneth Gourlay An analysis of semi-rural and peri-urban Zulu children’s songs Pessa Weinberg -
Music and Inter-Generational Experiences of Social Change in South Africa
All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 PhD Social Anthropology Goldsmiths, University of London All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 Thesis submitted in fulfillment of the requirements for a PhD in Social Anthropology Goldsmiths, University of London 2013 Cover Image: Party Goer Dancing at House Party Brixton, Johannesburg, 2005 (Author’s own) 1 Acknowledgements I owe a massive debt to a number of people and institutions who have made it possible for me to give the time I have to this work, and who have supported and encouraged me throughout. The research and writing of this project was made financially possible through a generous studentship from the ESRC. I also benefitted from the receipt of a completion grant from the Goldsmiths Anthropology Department. Sophie Day took over my supervision at a difficult point, and has patiently assisted me to see the project through to submission. John Hutnyk’s and Sari Wastel’s early supervision guided the incubation of the project. Frances Pine and David Graeber facilitated an inspiring and supportive writing up group to formulate and test ideas. Keith Hart’s reading of earlier sections always provided critical and pragmatic feedback that drove the work forward. Julian Henriques and Isaak Niehaus’s helpful comments during the first Viva made it possible for this version to take shape. Hugh Macnicol and Ali Clark ensured a smooth administrative journey, if the academic one was a little bumpy. Maia Marie read and commented on drafts in the welcoming space of our writing circle, keeping my creative fires burning during dark times. -
Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
Johnny Clegg, the White Zulu 52’ DOCUMENTARY PROJECT Goyaves and Screenshot Productions
Johnny Clegg, The white Zulu 52’ DOCUMENTARY PROJECT Goyaves and Screenshot Productions For 18 years, Goyaves has collaborated with leading French television companies in the production of documentaries, reports and short fiction films. Since its creation, Frédéric Malègue, producer, has always shown his will to open audiences to the realities of other countries and cultures. Beyond short films about Beirut or the Tunisian revolution, he has produced various documentaries in Vietnam, India, Palestine, Venezuela, Chile and the Dominican Republic. At Goyaves we believe it is important to support people and organizations that have an impact on our society. Indeed, it is essential to make viewers aware of the realities and the struggles being waged to promote justice and equality. One of our latest productions broadcasted on ARTE "Au cœur des négociations secrètes" and which takes place in Vietnam could testify. Screenshot Productions has an editorial line focused on the world and its major concerns: environment, economic development, human rights as well as its modern and successful heroes. Topics are approached through a positive prism, through the experience of individuals and/or personalities who fight for progress and/or the environment. 2 Goyaves and Screenshot Productions Today we have the chance to tell the story of Johnny Clegg. Author, composer, hot-voice singer and barefoot dancer, 65-year-old Johnny Clegg, nicknamed the "White Zulu", interrupted last year his final tour entitled "Last Journey" for medical reasons. Our documentary is the portrait of an artist and citizen of the world who wishes to bid farewell to his fans and leave them a testimony of his career. -
HISTORY WORKSHOP University Ol the Witwatersrand 1 Jan Smuts Avenue Johannesburg 2001
r\- y /"> UNIVERSITY OF THE WITWATERSRAND HISTORY WORKSHOP University ol the Witwatersrand 1 Jan Smuts Avenue Johannesburg 2001 THE MAKING OF CLASS 9-14 February, 1987 AUTHOR: V. Erlmann TITLE: "Singing Brings Joy To The Distressed" The Social History Of Zulu Migrant Workers' Choral Comnetions 1. INTRODUCTION The crucial role played by the system of cheap migrant labor as the backbone of South African capitalism is reflected in an extensive literature. However, this rich academic output con- trasts with a remarkable paucity of studies on migrant workers' consciousness and forms of cultural expression. Among the reasons for this neglect not the least important is the impact of the South African system of labor migration itself on the minds of scholars. Until at least the 1950s, the prevailing paradigm in African labor studies has been detribalization (Freund 1984:3) Since labor migration - so the argument went - undermined tradi- tional cultural values and created a cultural vacuum in the bur- geoning towns and industrial centers of the subcontinent, neither the collapsed cultural formations of the rural hinterland nor the urban void seemed to merit closer attention. The late 1950s some- what altered the picture, as scholars increasingly focused on what after all appeared to be new cultural formations in the cities: the dance clubs, churches, credit associations and early trade unions (Ranger 1975, Mitchell 1956). This literature em- phasized the ways in which the urban population attempted to com- pensate for the loss of the rural socio-economic order in "retribalizing", restructuring the urban forms of social interac- tion along tribal lines. -
Dust of the Zulu Ngoma Aesthetics After Apartheid
DUST OF THE ZULU NGOMA AESTHETICS AFTER APARTHEID LOUISE MEINTJES With photographs by TJ LEMON DUST OF THE ZULU DUST OF THE ZULU NGOMA AESTHETICS AFTER APARTHEID / / / LOUISE MEINTJES With photographs by TJ LEMON Duke University Press / Durham and London / 2017 © 2017 Duke University Press Photographs © TJ Lemon All rights reserved Printed in the United States of America on acid- free paper ♾ Designed by Heather Hensley Typeset in Arno Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data Names: Meintjes, Louise, [date] author. | Lemon, T. J., photographer. Title: Dust of the Zulu : Ngoma aesthetics after Apartheid / Louise Meintjes; with photographs by TJ Lemon. Description: Durham : Duke University Press, 2017. | Includes bibliographical references and index. Identifiers: lccn 2016057550 (print) lccn 2017006725 (ebook) isbn 9780822362500 (hardcover : alk. paper) isbn 9780822362654 (pbk. : alk. paper) isbn 9780822373636 (ebook) Subjects: lcsh: Ngoma (Drum) music—Social aspects— South Africa. | Zulu (African people)—Music—Social aspects—South Africa. Classification: lcc ml1035.n46 m456 2017 (print) | lcc ml1035.n46 (ebook) | ddc 781.62/963986—dc23 lc record available at https://lccn.loc.gov/2016057550 Cover art: EsiPongweni, 28 December 2000. Photograph by TJ Lemon. Duke University Press gratefully acknowledges the support of Trinity College of Arts and Sciences, Duke University, which provided funds toward the publication of this book. TO MY BROTHERS André, Andrew, Doug, and Dominic Siyazi, Zabiwe David, Aaron, Jairo, Tom CONTENTS ix Preface xi Acknowledgments 1 INTRODUCTION The Politics of Participation in Ngoma Song and Dance 28 1. TURNING TO BE KISSED Praise, Flirtation, and the Work of Men 62 2. -
Isicathamiya'
Isicathamiya'. 'To Tread Like a Cat' BY SHARON F. GRIFFIN DURBAN, South Africa July 1995 At 2 A.M. on a Sunday, I rise from my bed, dress quickly, gulp a glass of orange juice and head to the YMCA on gritty Beatrice Street in central Durban. Standing outside the building and in its foyer are men, dozens of them clumped together in groups. I wade through the masses and climb two flights of stairs to a room filled with 150 or so people, both men and women all black South Africans seated on metal folding chairs. The room's hardwood floors are un- finished, and in one corner is a hole big enough to swallow the foot of a man wearing a size 13 shoe. Scribbled on a blackboard in the front of the room are math equations and the message, "please Lord, help me to hold on." I walk toward the front, trailing four friends, and we settle into chairs that we'll occupy for the next five hours. In an aisle to our right, eight men line up. They walk single file to the front of the room, exaggerating ever so slightly the natural swing of their arms and the bend in their knees. There in front, they spread themselves into a semi-circle. I sit straight up in my chair, and prepare to listen as the weekly all-night isicathamiya competition begins. Isicathamiya is a term used to describe a polished style of close harmony singing developed in the 1920s and '30s among Zulu male migrant workers in the coal mining districts of Dundee, Vyrheid and Newcastle in the Natal Midlands. -
UCSD Presents Johnny Clegg and Savuka, Zulu Music Ensemble on October 1
UCSD presents Johnny Clegg and Savuka, Zulu music ensemble on October 1 September 13, 1990 Contact: Ruth Bally, University Events, 534-4090 or Alixandra Williams, University Communications, 534-3120 UNIVERSITY EVENTS PRESENTS ZULU MUSIC ENSEMBLE ON OCT. 1 Johnny Clegg and Savuka, a South African music ensemble, will perform at the University of California, San Diego at 8 p.m. Oct. 1, in the Price Center Ballroom. Their music has its roots in Zulu rhythms, melded with EuroAmerican jazz. Formed in 1986, the ensemble has sold more than two million albums in South Africa, including the number one hit, "Asimbononga," and "Scatterlings of Africa," which appeared on the sound track of the movie, "Rain Man." The ensemble's popularity in Europe has led it to appearances in North America, including network television exposure on the Arsenio Hall Show, the Today Show, the Tonight Show, and Saturday Night Live. Clegg has worked with two of the groups musicians, percussionist Dudu Zulu and drummer Derek De Beer, since 1979, when they were members of another very popular South African band, Juluka. Clegg and Savuka (Zulu for "we have arisen") have released two albums, "Third World Child" and "Shadow Man," and have toured extensively, appearing at the famed Montreux Jazz Festival, opening for David Bowie in France, fronting for Earth, Wind and Fire in Germany, and appearing in North America with Steve Winwood. Clegg and Savuka also appeared in the Amnesty International Human Rights' "NOW!" tour, in Abidjan on the Ivory Coast, with Bruce Springsteen, Sting and Tracy Chapman. Michael Lerner of Newsweek says, "Long before Paul Simon ever dreamed of fusing South African music with Western pop on his blockbuster "Graceland" album, Clegg--who was a university lecturer on socio-anthropology in South Africa and who speaks fluent Zulu--was hard at work doing just that. -
About Ladysmith Black Mambazo Ladysmith Black Mambazo Was Created in the Early 1960S by Visionary Singer and Activist, Joseph Shabalala
About Ladysmith Black Mambazo Ladysmith Black Mambazo was created in the early 1960s by visionary singer and activist, Joseph Shabalala. The group’s name comes from Shabalala’s hometown of Ladysmith, near the city of Durban, South Africa. Black refers to the strongest of all farm animals, the black ox. Mambazo is the Zulu word for axe, a symbol of the group’s vocal strength. The group is deeply rooted in a musical style called isicathamiya (is-cot-a-ME-Ya): a kind of a capella singing (using only voices with no music or instruments) featuring close harmonies and many voices blending different notes at once. This style usually includes hand movements and tight chorography, too. A radio broadcast in 1970 opened the door to their first record contract. Their philosophy in the studio was—and continues to be—as much about preservation of musical heritage as it is about entertainment. During the 1970's and early 1980's Ladysmith Black Mambazo established themselves as the most successful singing group in South Africa. In the mid-1980s, the American singer/songwriter Paul Simon visited South Africa and incorporated the group's rich harmonies into his famous Graceland album, a landmark recording that was considered crucial in introducing world music to mainstream audiences. The group is a legend in their native South Africa, and played a critical role in the international movement to end apartheid—the brutal system of racial segregation and minority rule that controlled South African life from 1948-1991. “Our aim from the beginning was to encourage South African people, especially the young people, that they have talent and are free to use their indigenous music and not try to be somebody else,” reported an original member of the ensemble. -
Ladysmith Black Mambazo Study Guide 0809.Indd
2008-2009 Season SchoolTime Study Guide Ladysmith Black Mambazo Friday, March 13, 2009 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, March 13, 2009, at 11 am, your class will attend a performance of South Africa’s most renowned vocal group, Ladysmith Black Mambazo. Founded in the early 1960s by South African visionary singer and activist Joseph Shabalala, Ladysmith Black Mambazo is considered a national treasure in their native country. The group has revolutionized traditional South African choral-group singing with their distinctive version of isicathamiya (Is-cot-a-MEE-ya), which comes from the powerfully uplifting songs of Zulu mine workers popularized during the apartheid era. Using This Study Guide This study guide will help engage your students with the performance and enrich their fi eld trip to Zellerbach Hall. Before coming to the performance, we encourage you to: • Copy the student resource sheet on page 2 & 3 and hand it out to your students several days before the show. • Discuss the information on pages 4- 5 about the performance and the artists with your students. • Read to your students from the About the Art Form on page 6 and About South Africa sections on page 8. • Engage your students in two or more of the activities on pages 11-12. • Refl ect with your students by asking them guiding questions, which you can fi nd on pages 2, 4, 6 & 8. • Immerse students further into the art form by using the glossary and resource sections on pages 12-13. At the performance: Your students -
University of Zululand Master of Music
UNIVERSITY OF ZULULAND INDIGENOUS FEATURES INHERENT IN AFRICAN POPULAR MUSIC OF SOUTH AFRICA A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the department of Music at the University of Zululand by THULASIZWE NKABINDE DECEMBER 1997 INDIGENOUS FEATURES INHERENT IN POPULAR MUSIC OF SOUTH AFRICA SUPERVISOR: PROF MK XULU DECLARATION The whole of this work is a product of my original thought and research. Where the contrary is found that willl always be acknowledged in full. THULASIZWE NKABINDE ACKNOWLEDGMENTS I would like to express my gratitude to Professor Musa ~IU for his patience, advice and guidance, without which this project would have been all the more difficult. My deepest appreciate goes to my father, Mr. Gibson Siyabonga Nkabinde, my wife Beauty and all my children, Khayelihle, Phelelani and Banele for all their support and encouragement, and to Ms Brenda Trimmel for her endless hours of typing and perfectionist care in the format of this project. I would also like to thank all those people who, in one way or another, made this project reach completion. They are: Professor Joseph Bhekizizwe Shabalala of the Ladysmith Black Mambazo, Marks Mankwane of the Makgona Tsohle Band, Mahlathini and the Mahotella Queens, Yvonne Chaka Chaka, Simon Buthelezi, Bongani Hlatshwayo, Print and Electronic Media, the entire SABC staff and the SABC Choristers, not forgetting the enormous support from the audience, the music lovers. DEDICATION This thesis is dedicated to my late mother Mrs Thembakuye Nkabinde who gave me all the support to pursue my career. ABSTRACT The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms.