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Shangana Tsonga People of Semi-Urban Southern Mozambique

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Shangana Tsonga People of Semi-Urban Southern Mozambique The significance of music in the performance of svllcwembu ritual practices amongst the Shangana Tsonga people of semi-urban southern Mozambique Ivan Felix da Concei~ao Mazuze M7ZIVAOOI A dissertation submitted in fulfilment ofthe requirements for the award of the degree of Masters in Music Masters of Musicology Faculty of the Humanities University of Cape Town 2006 Supervisor: Michael Nixon The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Compulsory Declaration This work has not been previously submitted as a whole. or in part, for the award of any degree. It is my own work. Eachsignificant contribution to, and quotation in, this dissertation from the work, or works, of other people bas been attributed, and has been cited andreferenced. Abstract This research investigates the significance of music in svikwembu. one of the most regularly used ritual practices amongst the Shangana Tsonga people of southern Mozambique, specifically in the Maputo province. The significance and importance of music is applied to all practitioners of svikwembu. SviJcwembu includes trance (spirit possession), divination, consultation (leu pahla), exorcism (kufemba) and healing practices. Music activity has different functions in each of the above-mentioned practices. Specific instruments (gocha, ngoma, ntxomana, and whistle) and styles of music (Ndau, Nguni, mahlonga and Monhe) are used and performed in these set ritual practices. TIle main purpose of this thesis is to find out why music has to be performed in order to establish communication between the practitioners of the medium of svikwembu (traditional healers) and spirits (Ndau, Nguoi, mahlonga and Monbe). This thesis aims to fill a gap in the field of knowledge concerning music, trance and spirit possession of the Shangana Tsonga of southern Mozambique. ii Dedication This thesis is dedicated to my parents, Abilio Matutuane Mazuze and Maria Felicidade Ferreira da CODcei~o. Thank you for your unwavering support. iii Acknowledgements Fmtly and very importantly, thanks to you, my Lord for your guidance and for providing me with a great family and true friends. I would also like to offer my sincere gratitude to my supervisor, Michael Nixon, for his expert guidance, patience and enthusiastic support. I thank my sponsors from the international student funding office at ucr and the Canon Collins educational bUst for Southern Africa for providing me with financial support; without them this project would not have been possible. I would like to thank Ncebakazi Mnukwana. Syril Walters and Sylvia Bruinders for guiding my understanding of the case material. Thanks to my teachers, Mike Campbell and Mike Rossi. To my family, special thanks to my uncle Elfdio Magaia for your kind help during my fieldwo.x, to my mother Maria Felicidade Ferreira da Concei~ao for advising me during fieldwork and helping with the Xichangana terminology, to my father AbOio Matutuane Mazuze for helping me with transportation during my fieldwork and thank you all for your support and encouragement. To Ragnhild Tveitan, thanks for your love, support and encouragement To my friends and.colleagues Dem6crito Manyissa. Jimmy Dludlu, Orlando da Concei~ and Zim Ngqawana I say thank you for listening and advising me on the subject, and to other great friends, thank you all for your friendship and support. I also owe gratitude to the following institutions and libraries: ARPAC (National Archive of Cultural Patrimony of Mozambique), Instituto dos Estudos Brasileiros, University of Eduardo Mondlane libraries, Arquivo Hist6rico de M~ambique (historical archive of Mozambique), and National library in Maputo. Thanks to Adrian More, Justine Mthethwa "Master" and Ncebakazi Mnukwana for helping in transcribing the music. iv I am thaokful to Hester Honey for editing this thesis. FInally, thank you to all my research consultants. for their time and enormous spontaneity in sharing their knowledge and information on the subject. Without their participation this project would never have been realised. v CD Index 1. Carolina & unidentified musicians-Ndau-style song with drums (Fig.29) 00:20 2. Carolina & unidentified musicians-Ndau-style song, no drums (Fig.29) 01:18 3. Manuel & unidentified musicians-Ndau-style song with drums (Fig.31) 02:22 4. Carolina & unidentified musicians-Nguni-style song with drums (Fig.32) 01:02 5. Carolina & unidentified musicians-Nguni-style song, no drums (Fig.32) 02:29 vi Contents COMPULSORY DECLARATION _._.. _.__________. _..._._... .. .. I ABSTRACf__ ............__..___________________.0 DEDICATION_.._.__.._____...................._______.._..._._,-III ACKNOWLEDGEMENTS____. _.. _.....__..._..._._.._____.. _____._____IV CDINDEX ____._._•.__ ._____............._VI CON1'ENTS______ ____ ..._.___VII LIST OF FlGUR£S ....... .. .. IX CHAPTER IINTRODUcnON _1 1.1 MonvATION RlR nIB SnJDy .•......••...........•.......................................................................... 1 1.2 REAsoNs RlR CHOOSING TIlE TOPIC...................................................................................... 2 1.3 So.IB CASE mJDlES .............................................................................................................. 3 1.4 REsEARCH DESIGN AND MEJlIODOLOOY ............................................................................... 3 I.S REsEARCH QUBSTJON AND OBJI!CTJVE............................................................................. , ..... 4 1.6 THE SCOPE OF TIlE nlESIS ..................................................................................................... 4 CHAPI'ER 1 TIlE SOCIAL HISTORICAL BACKGROUND OF MOZAMBIQUE AND ITS POPULATION, AND OF SVlKWEMBU... .. .. ...6 2.1 MOZAMBIQUE ......... , ............................................................................................................. 6 2.1.1 Location................................._................................................................................ 6 2.1.2 Climate..................................................................................................................... 7 2.1.3 MOZJUnbican demographics ..................................................................................... 8 2.1.4 Religion in MOZJUnbique .......................................................................................... 9 2.1.5 LtutgllOges spoun in Mov;unbique ........................................................................ 11 2.1.6 Major ethnic groups and sub groups ofMozambique ........................................... 12 21.6.1 Nguni ............................................................................................................................ 12 2.1.6.21be Tsonga group ........................................................................................... _............ 12 21.6.31be Sbona group ................. .......................................................................................... 13 2.1.6.4 Asians ........................................................................................................................... 14 2.1.7 Early history ofMov;unbique ................................................................................. 15 2.1.7.1 Mfec~......................................................................................................................... 16 2.1.7.2 1beGaza Idngdom ........................................................................................................ 17 2.1.8 The colonial ng~ period.................................................................................... 19 2.1.9 Tluformotion ofFREUMO in 1962 and Independence ofMommbique in 1975.20 2.1.10 Sollth A/rica and RENAMO ................................................................................. 20 2.1.11 Peace agreement and multiparty el«tions in Mozambique................................. 2J 2.1.12 Economic growth and development in MoZlllffhique ........................................... 21 2.2 THE TERM SHANGANA TSONGA .......................................................................................... 21 2.2.1 Different terms used for the Shmrgana Tsonga ethnic group....... .......................... 22 2.3 SVIKWBMBU AND HISTORy .................................................................................................. 23 2.3.1 The oppression oftraditional cultural values in MoZlllffhique bifore indepentknce in 1975............................................................................................................................ 24 2.3.2 FRELlMO's rejection ofMowmbique's traditional institutions ........................... 25 2.3.3 FREUMO changes its policy tnwards traditional institutions .............................. 26 2.4 SUMMARy ........................................................................................................................... 26 CHAFrER 3 LITERATURE REVIEW AND THEORETICAL FRAMEWORK_29 3.1 AFRIcAN lltADrrIONAL RELIGION ....................................................................................... 29 3.1.1 Spirits in African belief. ......................................................................................... 31 3.1.2 Ancestral spirits
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