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Sepedi Oral Poetry with Reference to Kiba Traditional Dance of South Africa

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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) SEPEDI ORAL POETRY WITH REFERENCE TO KIBA TRADITIONAL DANCE OF SOUTH AFRICA by TEBOGO DAVID MAAHLAMELA Submitted in accordance with the requirements for the degree of DOCTOR OF PHILOSOPHY in the subject AFRICAN LANGUAGES at RHODES UNIVERSITY SCHOOL OF LANGUAGES & LITERATURES (AFRICAN LANGUAGE STUDIES) SUPERVISOR: PROFESSOR RUSSELL H. KASCHULA CO-SUPERVISOR: DR NTOMBOMZI R. MAZWI DECEMBER 2017 Introductory Declaration: I declare that “Sepedi Oral Poetry with reference to Kiba Traditional dance of South Africa” 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. …………………………………………….. 19/03/2018 Signature Date TEBOGO DAVID MAAHLAMELA i Acknowledgements I chiefly thank the God of ThabaSione, the mighty God of Engenas, Edward, and Barnabas Lekganyane whom I am enormously indebted for all I deem accomplishment. I thank my three special guardian angels. I wish to acknowledge my supervisors, Prof. Russell Kaschula and Dr. Ntombomzi Mazwi for their assistance and continued support over the years during the writing up of this thesis. The general assistance of the National Research Foundation (NRF) Chair in the Intellectualisation of African Languages, Multilingualism and Education is further acknowledged. The study was made possible through financial assistance from the National Institute of the Humanities and Social Sciences (NIHSS) the South African Humanities Dean Association (SAHUDA), for which I am sincerely grateful. I thank the University of Johannesburg’s Johannesburg Institute for Advanced Study (JIAS) for offering me writing fellowship. Tons of gratitude to Prof. Lesibana Rafapa, Prof. Geoff Mapaya and Dr. Rémi Tchokothe for your constructive remarks. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the aforementioned institutions and individuals. My warm gratitude is extended to my former colleague, Lesiba Ledwaba, who inspired my interest in kiba artform; the same goes to my supportive family and relatives. Ke a leboga. ii Dedication In memory of my elder sister, Matšie Lydia Maahlamela, Mmanoko Lorrain Semenya and Matshediso Aletta Motimele iii As a means of revealing collective identity, art should be considered an article of prime necessity, not a luxury. Eduardo Galeano Don’t only practise your art, but force your way into its secrets for it and knowledge can raise men to the Divine. Ludwig van Beethoven I have a dream […] of a day when children of our land will be taught the true history of their forefathers and the true history of the Zion Christian Church. Barnabas Edward Lekganyane Consider now, for the LORD has chosen you to build a temple as a sanctuary. Be strong and do the work. 1 Chronicles 28:10, NIV Call to me, and I will answer you; I will tell you wonderful and marvellous things that you know nothing about. Jeremiah 33:3, NIV Write, therefore, what you have seen, what is now and what will take place later. Revelation 1:19, NIV Certain people, events, and books come to you when they must, at their precise moment in history. Sandra Cisneros iv Abstract Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape. v Kakaretšo Dinyakišišo tša baahlaahli ba bangwe di laetša gore ge go bapetšwa le maleme a mangwe a go bolelwa ke batho ba mmalwa, phetolelo ya thetopolelo go ya go thetongwalwa ya segagešo ga ya diega fela, eupša le tšwelopele ya yona e a nanya, ebile ditshekatsheko tša go tsenelela ke tše mmalwa. Le ge go le bjalo, ga se thetopolelo yeo e hlaelelago, ke fela phetolelo ya yona go thetongwalwa. Mekgobokgobo ya digatišwa tšeo di bego bokgobammino bja Lekgotlakgašo la Afrika Borwa (SABC) le Bokgobammino bja Boditšhabatšhaba la Mmino wa SeAfrika (ILAM) di lebane le tlhotlo ya go ka lobwa ka lebaka la hlokego ya dilotadigatišo tša sebjale le bafetoledi. Nyakišišo ya thetongwalwa ya magareng ga 1906 le 2006 e a hlatsela gore tlhabollogo ya thetongwalwa e sa hlaelela, ebile e tletše ka dika-puku-theto tšeo di šeditšego fela go fihlelela dinyakwa tša bohlaola-puku-tša-sekolo. Thuto ya thutelammino e laetša gore borammino ba tšese ya sebjale ba thopile le go hlama- leswa thetokiba go ba mmino wa tšese woo o feditšego o le mminomamoratwa wa mohlakamotala. Dinyakišišo tše tseneletšego di dirilwe ka tšese yeo ya go hlohleletšwa ke thetokiba, efela ga go thuto ye e dirilwego ka pulamadibogo ye, kibatheto. Tshekatsheko ya diretokiba tšeo di kgethilwego e laetša gore thetokiba ke theto ye humilego ya boleng le bokgabo bjo lokelwago ke go bitšwa theto-komang-ka-nna lelemeng la Sepedi/Sesotho sa Leboa. Nyakišišo ye e buša e tšweletša gore thetokiba ke motheo wa semoya go Bapedi/Basotho ba Leboa, motheo woo ntle le wona ditumelo tše dingwe di ka se felelele. Go feta fao, thetokiba e na le mehutatheto yeo e sa atago thetong ya Afrika Borwa bjalo ka thetomodumo le theto ya dinokwana tša go ikgetha, theto ya seterama ya thapelo. Go hlohleletšwa dinyakišišo legorong le la thuto go tsenelela go feta nyakišišo ye ya makgoraditsela, gore go phološwe diretokiba ka bontši ka fao go kgonegago, tšeo di tlilego go nontšha thetongwalwa ye e fokolago. Bokgwari bja direto tše di sekasekilwego bo hlatsela gore boleng bja thetokiba bo swanelwa ke šedi ya go ikgetha, ka ge e ka kgona go fetola sebopego sa theto ya Sepedi/Sesotho sa Leboa, le theto ya Afrika Borwa ka bophara. vi Table of Contents (a) Declaration…………………………………………………………………………………………. i (b) Acknowledgements.……………………………………………………………………………. ii (c) Dedication…………………………………………………………………………………………… iii (d) Abstract……………………………………………………………………………………………….. v (e) Kakaretšo…………………………………………………………………………………………….. vi (f) Abbreviations………………………………………………………………………………………. viii Chapter 1: Setting the Scene 1.1. Introduction…………..…………………………………………………………………………….. 1 1.2. Hypothesis……………………………………………………………………………………………. 1 1.3. Goals.…………………………………………………………………………………………………… 11 1.4. Scope……………………………………………………………………………………………………. 12 1.5. Methodology and approach…………………………………………………………………. 14 1.6. Organisation…………………………………………………………………………………………. 18 Chapter 2: A Century of Sepedi/Sesotho sa Leboa Poetry 2.1. Introduction…………………………………………………………………………………………. 19 2.2. The age of written words……………………………………………………………………… 19 2.3. The first book: Serote (1893)……………………………………………………………….. 20 2.4. The first published poem: “Sello sa Thaba-nthso”……………………………….. 21 2.5. The first poetry compendium: Phala (1935)…………………………………………. 23 2.6. Lekgothoane’s “animal poems” (1938)………………………………………………… 23 2.7. Quality and creativity of pioneering written poetry…………………………….. 26 2.8. Collection, preserving & disseminating oral poetry: Ramaila (1953)……. 27 2.9. Generic book production: editing and publishing……………………………….. 30 2.10. Generic impediments of literary criticism and scholarship………………….. 33 2.11. Performance poetry: Matlala (1953)…………………………………………………… 35 2.12. Internationalization through translation: Mamogobo (1959)……………… 37 2.13. The best of times: The Matsepe period (1960)……………………………………. 38 2.14. Post-Matseperisim: Lentsoane (1970)………………………………………………… 43 vii 2.15. Noteworthy poetic voices………………………………………………………………….
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    University of Massachusetts Boston ScholarWorks at UMass Boston Africana Studies Faculty Publication Series Africana Studies 1-1-2011 'Clearing the Forest': Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’ Chukwuma Azuonye University of Massachusetts Boston, [email protected] Follow this and additional works at: http://scholarworks.umb.edu/africana_faculty_pubs Part of the African Languages and Societies Commons, Comparative Literature Commons, and the English Language and Literature Commons Recommended Citation Azuonye, Chukwuma, "'Clearing the Forest': Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’" (2011). Africana Studies Faculty Publication Series. Paper 1. http://scholarworks.umb.edu/africana_faculty_pubs/1 This Article is brought to you for free and open access by the Africana Studies at ScholarWorks at UMass Boston. It has been accepted for inclusion in Africana Studies Faculty Publication Series by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. ‘Clearing the Forest’: Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’ Chukwuma Azuonye Professor of African & African Diaspora Literatures University of Massachusetts Boston And now the dreamer, with machete, Word-sharpened, is clearing the forest Of its macro-stench and venality To sow the seed that would send its roots, Unshaken by wind or storm, to its expected greatness. [Gabriel Okara, “The Dreamer,” 2006) Introduction A large body of the poetry of Gabriel Okara (b. April 24, 1921) was lost in the confusion that came with the sudden end of the Biafran war of independence from Nigeria (July 6, 1967-January 12, 1970). But a slim gathering of his verse, The Fisherman’s Invocation and Other Poems (ed.
  • Experience 5)&7*#3"/$:0'4065)"'3*$"Μ4$6-563"-%*7&34*5: Africa

    Experience 5)&7*#3"/$:0'4065)"'3*$"Μ4$6-563"-%*7&34*5: Africa

    EXPERIENCE 5)&7*#3"/$:0'4065)"'3*$"µ4$6-563"-%*7&34*5: AFRICA $&-&#3"5*/(5)& 7*#3"/$:0' GUIDE 2010 AND CULTURE ARTS 4065)"'3*$"4 $6-563"-%*7&34*5: ARTSANDCULTURE $EPARTMENT ARTSANDCULTURE !RTSAND#ULTURE $EPARTMENT 2%05",)#/&3/54(!&2)#! !RTSAND#ULTURE 5FM ARTS AND CULTURE GUIDE 2010 2%05",)#/&3/54(!&2)#! XXXEBDHPW[B Ditsong: Kruger Museum AFRICA In compiling this guide to the institutions and events that represent the incredibly broad and varied spectrum of the South African cultural scene, the Department of Arts and Culture has received the generous assistance of a number of organisations and individuals. The Department would like to thank each of these for their time, effort and valuable input, all of which were absolutely essential in making this publication as complete, accurate and appealing as possible. Angelique Kidjo (Benin) Freshlyground’s lead singer, Zolani Mahola National Department of Arts and Culture: 2010 Project Management Office Duduzile Mazibuko - Content Advisor and 2010 Project Manager Communications Department: Lisa Combrinck - Editor and Head of Communications Premi Appalraju - Content Development Corney Wright - Product Development James Mathibeng - Photography and DAC Administration Editorial services: ACKNOWLEDGEMENTS: DeskLink Media Team Design and Layout: Amadou & Mariam (Mali) Mariam & Amadou DeskLink Media Luthuli Nyathi, Sizakele Shingange Project Management: Chris Watterson Printed by: Colorpress (PTY) Ltd FOREWORD .*/*45&30'"354"/%$6-563& .4-6-69*/(8"/" At last, the FIFA 2010 World Cup™ is here. South Africa’s six long and busy years of preparation are finally coming to fruition. We have no doubt that South Africa and Africa are ready to offer the world an unforgettable occasion, creating festive hubs to which fans can flock to share their appreciation of the beautiful game and to experience African arts and culture.