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A Crash of Drums Durban By
LAT / LONG: 29.53° S, 31.03° E DURBAN ‘It’s the sound that gets to you A CRASH first,’ says David ‘Qadashi’ Jenkins. ‘A loud crashing of drums before OF DRUMS you even see the dancers. We heard it while we were still on the street, walking towards the hostel. It was 2012 and I’d just moved to Durban from Empangeni. My mentor, Maqhinga Radebe, took me to the Dalton Hostels on Sydney Road to see them dancing. But, of course, you hear it first. That tumultuous crash, a tremendous sound produced on huge marching band drums. You can hear it as far away as Davenport Centre, which is a few blocks up – you’ll hear it on a Sunday if you listen out for it.’ Jenkins grew up in northern KwaZulu-Natal, where he fell in love with Zulu culture. He’s never looked back; his boyhood obsession with maskandi has evolved into a thriving music career. Yet, even after years spent studying Zulu music traditions, he says witnessing Umzansi war dancing left him breathless. ‘The closer we got, the louder those crashing drums grew and eventually we were in the presence of these potent, DURBAN powerful dancers – workers who stay at the hostels and who dance on Sundays. The drumming is the heart of the music, but with harmonies sung over that, incredible war songs running over this loud drum beat. There are up to 20 singers who stand in a semi-circle, and up to ten men dancing at a time. And they move back and forth, swapping out all the time. -
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 -
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. -
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 -
A Design of a South African Popular Music Degree Curriculum
A Design of a South African Popular Music Degree Curriculum by Kirsten Nicole Adams Thesis presented in fulfilment of the requirements for the degree of Master of Music (Composition) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Barry Ross April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Kirsten Nicole Adams April 2019 Copyright © 2019 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract The study is a qualitative literature review that aims to propose a design of an ideal Bachelor of Music in South African Popular Music curriculum for South African universities. The purpose of this study is to design a degree curriculum that responds to the demands of the South African music industry, and that will hopefully advance the output of the South African music industry. Although not central investigation in the study, cognisance is taken of the financial limitations higher education in South Africa. The possibility of a Bachelor of Music in South African Popular Music degree curriculum is explored in research material focused on Western popular music literature, the demands of the South African music industry, how popular musicians learn, a comparison between existing Bachelor of Music in Popular Music degrees abroad (Berklee College of Music (US), Leeds Arts University (UK) and Griffith University (Australia)) as well as what is available in South Africa. -
Radio, Community and Identity in South Africa: a Rhizomatic Study of Bush Radio in Cape Town
RADIO, COMMUNITY AND IDENTITY IN SOUTH AFRICA: A RHIZOMATIC STUDY OF BUSH RADIO IN CAPE TOWN A dissertation presented to the faculty of the College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Tanja Estella Bosch November 2003 ©2003 Tanja Estella Bosch All Rights Reserved This dissertation entitled RADIO, COMMUNITY AND IDENTITY IN SOUTH AFRICA: A RHIZOMATIC STUDY OF BUSH RADIO IN CAPE TOWN BY TANJA E. BOSCH has been approved for the School of Telecommunications and The College of Communication by Jenny Nelson Associate Professor, Telecommunications Kathy Krendl Dean, College of Communication BOSCH, TANJA. E. PhD. November 2003. Telecommunications. Radio, community and identity in South Africa: A rhizomatic study of Bush Radio in Cape Town (289pp). Director of Dissertation: Jenny Nelson This dissertation deals with community radio in South Africa, before and after democratic elections in 1994. Adopting a case study approach and drawing on ethnographic methodology, the dissertation outlines the history of Bush Radio, the oldest community radio project in Africa. To demonstrate how Bush Radio creates community, this dissertation focuses on several cases within Bush Radio. The use of hip-hop for social change is explored. Framed within theories of entertainment-education and behavior change, the dissertation explores specific programs on-air and outreach programs offered by the station. This dissertation also looks at kwaito music, a new hybrid musical form that emerged in South Africa post- apartheid. In particularly, the dissertation argues that Bush Radio uses kwaito music in the consolidation of a black identity in South Africa. -
AFRICAN MUSIC and PEACE Conrad Grebel University College/UW 10:00 – 11:20, Monday and Wednesday, Room 1300, Professor Carol Ann Weaver
MUSIC 390/PACS 301, WINTER 2013 – AFRICAN MUSIC AND PEACE Conrad Grebel University College/UW 10:00 – 11:20, Monday and Wednesday, Room 1300, Professor Carol Ann Weaver Week Dates Material Studied; Assignment Listings 1 Jan. 7 Overview of continental Africa – its music and peace/conflict issues Jan. 9 Guest, PACS Prof. Reina Neufeldt, “Snapshots of Peace-building in Africa” Readings: G&G: Chapters 1, 2 – Intro and Geography 2 Jan. 14, 16 Senegal and Guinea – national issues, perspectives, music Readings: G&G: Chapter 3 – History 3 Jan. 21 Nigeria – national issues, perspectives, music Nigerian Documentary DVD, The Amam and the Pastor – in-class screening Jan. 23 Guest Lecturers, Dave and Mary Lou Klassen, “Peace Work in Nigeria” Readings: G&G: Chapter 4 – Politics 4 Jan. 28, 30 Mali and Cameroon – national issues, perspectives, music Readings: G&G: Chapter 5 – Economics Short-short essay on Nigeria DVD, G&G questions (Ch. 1-5), due Wed., Jan. 30 5 Feb. 4 Congo (DRC) – national issues, perspectives, music Guest: Marlene Epp (Grebel History/PACS), “Dancing with Congolese Women” Feb. 6 Guest: Maurice Mondengo (Congolese Musician), “Having to Leave The Congo” Readings: G&G: Chapter 6 – International Relations 6 Feb. 11 Uganda – national issues & perspectives Guest Lecturer, Jennifer Ball, “Children, War, and Peace in Uganda” Listening Quiz 1, Mon., Feb. 11: Files 1 – 6 (Senegal through Congo) Feb. 13* Ugandan DVD, War Dance *Screening at 9:00AM, Wed. Feb. 13, Rm 1300 Readings: G&G: Chapters 7 – Population, Urbanization, AIDS READING WEEK, -
Ladysmith Black Mambazo & Vusi Mahlasela
Ladysmith Black Mambazo & Vusi Mahlasela Study Guide Table of Contents 1. Welcome ...................................................................................3 2. Theater Etiquette ....................................................................4 3. Unit-Long Understanding Goals ............................................5 Each section includes questions for understanding (at the beginning) and exercises (at the end). These can be used to help students integrate the material presented into subjects they are already studying in the classroom, and are designed to meet some of the requirements of the Reading/Language Arts Framework and Visual and Performing Arts Content Standards for California Public Schools.* 4. About the SchoolTime Program .............................................7 5. About the Artists .....................................................................8 6. About the Art Form: Isicathamiya .......................................17 7. History: South Africa ...........................................................23 8. Teacher Evaluation Form .....................................................28 9. Student Evaluation Form .....................................................29 * Material contained in this Study Guide can be used to implement lessons that meet the Visual and Performing Arts content standards for California public schools. A full list of VAPA standards and content standards for related disciplines such as history and social studies can be found on line at: http://www.cde.ca.gov/be/st/ss/index.asp -
Ladysmith Black Mambazo Friday, March 31, at 11:00 A.M
1906 Centennial Season 2006 05/06 Study Guide Ladysmith Black Mambazo Friday, March 31, at 11:00 a.m. Zellerbach Hall SchoolTime Welcome March 15, 2006 Dear Educator and Students, Welcome to SchoolTime! On Friday, March 31, 2006, at 11:00 a.m., you will attend the SchoolTime performance by South Africa’s most renowned male a cappella ensemble Ladysmith Black Mambazo at Zellerbach Hall on the UC Berkeley campus. 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. They have revolutionized traditional South African choral-group singing with their distinctive version of isicathamiya (Is-cot-a-MEE-ya), the powerfully uplifting songs of Zulu mine workers during the apartheid era. This study guide will prepare your students for their fi eld trip to Zellerbach Hall. Your students can actively participate at the performance by: • OBSERVING the skill and harmony of the artists working together. • LISTENING to the words of songs and sounds instruments that accompany the performance. • THINKING ABOUT the freedom of expression that this art form allowed Black people living under apartheid. • REFLECTING on the history and culture of South Africa. We look forward to seeing you at Zellerbach Hall! Sincerely, Laura Abrams Rachel Davidman Director Education Programs Administrator Education & Community Programs About Cal Performances and SchoolTime The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation for the performing arts. Cal Performances, the performing arts presenter of the University of California, Berkeley, fulfi lls this mission by presenting, producing and commissioning outstanding artists, both renowned and emerging, to serve the University and the broader public through performances and education and community programs. -
ABSTRACT Paul Simon's Graceland and Its Social and Political
ABSTRACT Paul Simon's Graceland and its Social and Political Statements on Apartheid in South Africa Jonathan David Greer Mentor: Jean Ann Boyd, Ph.D. Paul Simon's Graceland album is one of the most controversial rock-and-roll albums in history because of its strong connection with South Africa during the apartheid. Simon's interest in South African music led him to record the album, which became a collaboration between South African popular music and American rock-and-roll music. Through the album, Simon makes a social statement, but because of the political issues within South Africa during the release of Graceland, many believe the album also makes a political statement. Graceland not only makes the strong social statement Simon intended, but also provides an important political statement on apartheid in South Africa. Copyright © 2006 by Jonathan David Greer All rights reserved CONTENTS LIST OF MUSICAL EXAMPLES iv iv ACKNOWLEDGMENTS v Chapter 1. Introduction and Background 1 Goals of Paper History of Apartheid in South Africa 2. Popular Music in South Africa 12 Marabi and Kwela Mbube and Isicathamiya Mbaqanga 3. Paul Simon's Career Before Graceland 24 4. Analysis 28 5. Responses and Conclusion 52 Public Responses to Graceland Conclusion BIBLIOGRAPHY 60 LIST OF MUSICAL EXAMPLES Example 1. Solo pennywhistle line and chord progression of "Meva" 14 2. Opening vocal lines of "Mbube" 15 3. Vocal lines and lyrics from "Unomathemba" 17 4. Lead guitar and vocal lines at beginning of "Tsotsi" 20 5. Bass line and background vocals from "Tsosti" 21 6. Accordion, drum, and bass from measures 1-12 of 28 "The Boy in the Bubble" 7.