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UNIVERSITY OF ZULULAND SOME PERFORMANCE PRINCIPLES IN UMBHAQANGA MUSIC: A STUDY IN TRADITION AND CHANGE A mini-thesis submitted in partial fulfilment ofthe requirements for the degree of Master of Music (Performance) in the DEPARTMENT OF MUSIC UNIVERSITY OF ZULULAND By MFUNDO GOODWILL NTAKA PROMOTER: PROF. M.K. XULU DATE DECEMBER, 1997 "' (i) DECLARATION I, the undersigned, hereby declare that this mini-thesis is my own original work and that it has never been presented in part or in its entirety at this or any other university in order to obtain a degree. Where contrary is found, all sources used or quoted have been acknowledged in full. KWADLANGEZWA DECEMBER, 1997 • , " (ii) ACKNOWLEDGEMENTS In accomplishing the study, the author wishes to express gratitude to the following people whose names appear below. Without their help, the study would not have been possible. My Promoter, Professor, M.K. Xu]u, Head of the Department of Music, His keen interest in the project, objective criticism, his guidance and his ingenuity in supervision in particular, contributed 'extensively to the completion of this study. Miss S.M. Mkhatshwa, for her patience and dedication in typing the work. The staff members of the University of ZuJllland Library for the help during my research. The following musicians, Sipho Mabuse, West Nkosi, Marks Mank.-wane, Mahlathini Nkahinde and Ray Phiri for their kind and candid contributions. My mother, MI5 N.A. Nraka, brothers, sisters, my friends, in particular, ThembelihIe and my son Le roy for their constant encouragement and suPPOrt to pursue this study. Finally, my gratitude goes to God Almighty for providing me with strength • and perseverance to complete the study. G.M.NTAKA UNIVERSITY OF ZULULAND KWADLANGEZWA (iii) DEDICATION This study is dedicated to two very special people who believed so much in education. MANDi.AK.HE GODwn..L NTAKA my father and FANNY GUMEDE my grandmother • May their souls rest ID peace CONTENTS PAGE CHAPTER 1 BACKGROUND AND OUTLINE OF THE STUDY 1 1.1 INTRODUCTION 1 1.2 AIM OF STUDY • 1.3 PROBLEMS AND ISSUES TO BE INVESTIGATED 2 AND THE QUESTIONS TO BE ASKED 3 1.4 DEFINITION OF TERMS 3 1.4.1 Tradition 3 1.4.2 Traditional music 3 1.4.3 Neo-tr.aditional 4 1.4.4 Mbhaqanga 6 1.5 THE STATEMENT OF THE PROBLEM 1.6 ANTICIPATED METHODS AND DIRECTION OF 6 INVESTIGATION 6 1.6. i Historical method 7 1.6.2 Descriptive method 8 1.6.3 Research tools . 8 1.7 FURTHER ANNOUNCEMENT OF THE PROGRAMME CHAPTER 2 GENESIS AND HISTORICAL BACKGROUND OFMBHAQANGA 10 2.1 INTRODUCTION 10 2.2 MUSICAL STYLES THAT PRECEDED MBHAQANGA 10 2.1 Marabi music i 14 2.2 Kwela music '/. 15 2.3 HISTORICAL DEVELOPMENT OF MBHAQANGA 2.3.1 The socio-cultnral and political context of'X 17 mbhaqailga 4( 20 2.3.2 Mbhaqanga, identity and class 'f. 2.4 THE ROLE OF MUSICIANS IN THE DEVELOPMENT 24 OF MBHAQANGA f 28 2.5 THE ROLE OF THE MEDIA , 2.6 CHARACTERISTICS, NATURE AND DYNAMICS OF 33 THESTYLE 1- 33 2.6.1 Instrumentationf 35 2.6·7 Performance practice of the style 37 2.7 RESUME -, CHAPTER 3 MBHAQANGA MUSIC: FEATURES AND CHANGES 39 3.1 INTRODUCTION 39 3.2 WESTERN ELEMENTS IN MBHAQANGA 40 3.3 AFRICAN ELEMENETS IN MBHAQANGA 42 3.4 MBHAQANGA TRADITION TODAY 43 3.4.1 Internal and external influences 46 • 3.4.2 Tradition and change 53 3.5 RESUME CHAPTER FOUR METHODOLOGY USED IN THE PRESENTATION AND ANALYSIS OF DATA 54 4.1 INTRODUCTION 54 4.2 RESEARCH INSTRUMENTS USED IN THE STUDY 55 4.2.1 Interviews 56 4.2.2 Recordings and observation 57 4.3 PROBLEMS ENCOUNTERED IN OBTAINING DATA 58 4.4 RESUME CHAPTER 5 FINDINGS AND ANALYSIS OF DATA 59 5.1 INTRODUCTION 59 5.2 ANALYSIS OF DATA 59 5.2.1 What is mbhaqanga music?' ---- 62 5.2.2 The structure of mbhaqanga songs 63 5.2.3 Performance principles of the style -" 69 5.2.4 Tradition and change 71 5.2.5 Mbhaqanga and other musical styles 75 5.3 RESUME • CHAPTER 6 SUMMARY AND CONCLUSION 76 6. I INTRODUCTION 76 6.2 SUMMARY AND CONCLUSION 79 6.3 APPENDIX A: TRANSCRIPTION 80 APPENDIX B: . PHOTOGRAPHS 82 7. BffiUOGRAPHY CHAPTER I BACKGROUND AND OUTLINE OF THE STUDY 1.1 INTRODUcnON In this study my intention it to look and explore the history and development of mbhaqanga music. Mbhaqanga music will be examined from several perspectives. Firstly, the historical aspect and its development'would be scrutinized. An attempt would be made to discover internal musical components which combine to produce the sound that is recognized as mbhaqanga. This tradition would be examined in its social, political and cultural context. Several people have contributed to the birth of mbhaqanga music. It would be vital to look at the role of musicians, influence of other musical styles, other influences (political, social, economical, ete), dynamics, characteristic, nature and performance of this style. Umbhaqanga music is one of the African popular musical style that is said to have emerged during the 1940's and evolved in various forms. In addition to this style other styles include isicathamiya, maskanda music and other mushrooming styles. • 1.2 AIM OF STUDY This study intends to examine the changes which have occurred in this tradition. In the African society music is linked to social and co=unity life. Changes that have occurred in the life pattern of African society manifest in music. Mbhaqanga music 1 CHAPTER 1 1.1 INTRODUCTION In this study my intention it to look and explore the history and development of mbhaqanga music. Mbhaqanga music will be examined from several perspectives. Firstly, the historical aspect and its development would be scrutinized. An attempt would be made to discover internal musical components which combine to produce the sound that is recognized as mbhaqanga. This tradition would be examined in its social, political and cultural context. Several people have contributed to the birth of mbhaqanga music. It would be vital to look at the role of musicians, influence of other musical styles, other influences (political, social, economical, etc), dynamics, characteristic, nature and performance of this style. Umbhaqanga music is one of the African popular musical style that is said to have emerged during the 1940's and evolved in various forms. In addition to this style other styles include isicathamiya, maskanda music and other mushrooming styles. 1.2 AIM OF STUDY This.study intends to examine the changes which have occurred in this tradition. In the African society music is lillked to social and community life. Changes that have occurred in the life pattern of African society manifest in music. Mbhaqanga music 2 as part of the African tradition has undergone some changes. These changes were often caused and influenced by the circumstances of the time. The purpose of this study is: 1.2.1 To examine some performance principles and techniques involved in the creation and presentation of mbhaqanga music. 1.2.2 To outline the socio-cultural changes that has affected this music. 1.3 PROBLEMS AND ISSUES TO BE INVESTIGATED A..ND THE QUESTIONS TO BE ASKED: Although mbhaqanga music is essentially African, it is performed on foreign instruments and is influenced by various indigenous and imported styles of music. It would be vital to ascertain and comprehend foreign as well as local influence on mbhaqanga. Questions to be investigated in this study are the following: 1.3.1 What and which principles make mbhaqanga music distinct from other African musical styles? 1.3.2 What changes are there in this music since its emergence? 1.3.3 What role is played by this music in the general African music arena? -~ 3 1.4 DEFINITION OF TERMS 1.4.1 TraditiQn The term "traditiQn" refers to the practices Qf the society that are passed Qn by Qlder members Qf that society to YQunger generatiQn. Spiegel and Boonzaier (1988:40) hQwever assert that "in a limited sense, . traditiQn' refers tQ the transmissiQn Qf culture in the· repeated handing dQwn Qf ideas, cQnventiQns and practices which humans need in social interactiQn." 1.4.2 TraditiQnal music TraditiQnal music in this study refers tQ music that is perfQrmed nQt by professiQnally trained musicians but passed dQwn orally thrQugh generatiQns. It is music that is deeply rooted in the African culture. TraditiQnal music is thus perceived as indigenQus and African in Qrigin. 1.4.3 Neo-Traditional CQplan (1980:437) defines this term as "an adjective describing any African expressive cultural form in traditiQnal idiom modified by performance on Western instruments, urban cQnditions, or changes in performance rules and occasions." In contrast to traditional music nea-traditional music has resulted because of a number of factors and under certain conditions. "' 4 1.4.4 Mbbaqanga Mbhaqanga as a musical concept has been defined by varIous writers. Graham (1989:266) defmes mbhaqanga as "the unique blend ofSouth African traditional music with urban influences, which took on record in the 1960's" Coplan (1985: 16) maintains that this term: Originally referred in Zulu to a kind of traditional steamed maize bread. Among musicians it meant that the music was " both Africans' own, the homely cultural sustenance of the township, and the popular working-class source of the musicians' daily bread. Dibango in Ewens (1991:186) contends that "the music of the South African townships, commonly known as mbhaqanga the poor' man's soup' is like other African urban styles, a broth cooked up from available ingredients." According to llIustrated Encyclopedia of Essential knowledge (1996:351) mbhaqanga referred to: A Zulu word for maize bread, originally a term for popular commercial African jazz in South Africa in the 1950's that developed from kwela and blended African melody, marabi and American jazz.
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