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Ubwinga, a Subset of Bemba Indigenous Knowledge Systems: a Comparative Study of Pre-Colonial and Post-Independence Wedding Ceremonies in Lusaka and Kitwe, Zambia

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Ubwinga, a Subset of Bemba Indigenous Knowledge Systems: a Comparative Study of Pre-Colonial and Post-Independence Wedding Ceremonies in Lusaka and Kitwe, Zambia 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 Ubwinga, a subset of Bemba Indigenous Knowledge Systems: a comparative study of pre-colonial and post-independence wedding ceremonies in Lusaka and Kitwe, Zambia by Kapambwe Lumbwe A thesis presented to the Faculty of Humanities South African College of Music University of Cape Town In fulfilment of the requirements for the degree of Doctor of Philosophy (Ethnomusicology) Supervisor Associate Professor Anri Herbst University of Cape Town University of Cape Town December 2009 Declaration I declare that this work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: ______________________ Date: _____________________ University of Cape Town ii Abstract The Bemba of Zambia view ubwinga, a sub-set of indigenous knowledge systems (IKS), as a process through which indigenous knowledge is acquired in the life cycle of a person. Musical arts (music, dance and dramatisation) embedded in ubwinga ceremonies and other stages of the Bemba life cycle play an integral role as a conduit through which knowledge in the form of cultural values, customs and traditions is transmitted. Interaction with other cultures from within Zambia as well as from Africa and rest of the world has lead to change in the structure of ubwinga ceremonies, thereby influencing the musical arts embedded in them. This study has, by way of ethnographic investigation, compared the Bemba ubwinga ceremonies performed in Lusaka and the Copperbelt during the pre-colonial era and the white wedding ceremonies performed during the post-independence era. It has further investigated the nature and existence of Bemba IKS. This study employed qualitative research methods involving extensive fieldwork in Lusaka and the Copperbelt. Apart from audio-visual recordings and analysing 25 marriage ceremonies, individual and focus group interviews were conducted with participants of wedding ceremonies and a sample of research participants from various age groups. Participant observation was used to collect data, while the interviews served as a means to clarify information about ubwinga ceremonies. Secondary sources in the form of literature on Bemba musical arts, culture, traditions and customs, and the history of Zambia and related topics were consulted from a variety of archived sources. Musical arts and the ceremonies in which they are utilised were captured by means of audio and video recordings, which were stored on CD and DVD. The data analysis process involved transcription and translation of recorded materials, bothUniversity in terms of music ofand interviews.Cape To Town aid in the analysis process software such as NVIVO (qualitative data analysis) and Sibelius (music notation) were used. The findings reveal that despite political, socio-economical and socio-cultural changes in the Zambian society, Bemba IKS still exist, although not in their original state. Continuity and change are evident in the current ubwinga ceremonies, which are an amalgamation of some of the elements from the pre-colonial ubwinga ceremonies and those of the white wedding ceremonies of the post-independence era. Regarding the musical arts, it has been revealed that marriage mfunkutu have not undergone changes, despite internal and external socio-cultural, socio-economic and political influences. But the repertoire has been abridged. iii Acknowledgements This research would have not been possible without the immense contributions and support from great many people. I express my sincere thanks to all of them. I am greatly indebted to all the many Zambian people who participated in interview sessions and patiently answered questions. The research participants voluntarily guided me to a better understanding of my Bemba culture. I am particularly grateful to Miss Mulenga Kapwepwe (Chairperson Zambia National Arts Council), and the Principals and pupils of the following schools and colleges: In Lusaka – St Marys Girls High School, Kabulonga Girls’ High School, Kabulonga Boys High School, Munali High School, Lake Road Secondary School, Evelyn Hone College of Applied Arts and Science and the College for Teachers of the Handicapped. In Kitwe – Helen Kaunda Girls’ High School, Mpelembe Secondary School and Kitwe Teachers’ Training College. For financial contribution towards my research, I would like to acknowledge my debt to the following: Andrew W. Mellon Foundation, Social Science Research Council (SSRC/USA), Woodrow Wilson National Fellowship Foundation (USA), University of Cape Town Postgraduate Funding Office (UCT), my brother in-law Mr Katai E. Kachasa of Lunsemfwa Hydro Company, my brothers Mr Mwila Lumbwe of Ernst and Young and Mr Chabala Lumbwe of Madison Insurance in Lusaka (Zambia), Dr Cally Waite (SSRC), Mr Zachary Menchini (SSRC) and Miss Emma Taati (SSRC). To Dr Lydia English, I cannot find suitable words to express my appreciation and how indebted I am for your personal commitment, assistance and encouragement you rendered to me throughout my study.University However, I am sure of when Cape I say it in BembaTown ‘natasha sana’ (thank you very much) you will understand how grateful I am. In the course of preparing and writing this study, I had the benefit of ideas that I learnt from the following academics and relations: Dr D. D. Hansen (South Africa, UCT), Dr Mwesa Mapoma (Zambia), Prof. Mubanga Kashoki (Zambia), Prof. Evance Kalula (UCT), Mr John Mwesa (Zambia), Mr Michael Nixon (UCT), Prof. James May (UCT), Prof. Peter Klatzow (UCT), Dr Kambidima Wotela (UCT), Dr Travis Jackson (Chicago University), Dr Chishimba Lumbwe (Zambia) and Dr Chitalu Lumbwe (Zambia). iv At ZNBC Lusaka, my appreciation is expressed to: Mr Ben Kangwa (Former Director of Programmes), Miss Lucy Daka and Mr Mwila Kapambwe for taking time to collect research materials on Zambian contemporary music on my behalf. I would also like to express appreciation to Miss Pricilla Shakulipa (Madison Insurance/Lusaka) and Miss Thandiwe Lungu (Ernst and Young/Lusaka) for their tireless efforts in collecting research materials on my behalf. I am also thankful to my students from Glendower Residence for their encouragement and also spending part of their precious time assisting in proof reading some of my chapters, drawing diagrams and doing translations in Shona, Xhosa, Zulu and Sotho for me. I am especially grateful to the following students: Akona Metu, Nokubonga Mabaso, Keemenao Mothoma, Siyamthanda Mnyamani, Nokutula Mathunda, Manake Rathete, Rujeko Nazare, Wdzanai, Itumeleng Mashikinya, Thakane Ntholi, Katongo Yamba and Thobo Mmopi. My family was unstinting in providing support and encouragement as I pursued my research. I am deeply indebted to bana Mwansa of Leeds, bana Sarai Rustenburg, bana Mambwe of Kalulushi, bana Mwansa (Auntie B) of Lusaka, Patricia Chishimba Kachasa of Leeds, Chomba Thompson Kachasa, A.M.P.L. Bwalya of Leeds, Mutale Kasanda Bwalya of Leeds, Mwaba Mwitwa of Lusaka, Kapambwe Maureen Lumbwe of Lusaka, Eddie and Mulenga Mwitwa and Mwenya Lumbwe (Mwenya I also thank you for the stationary you gave me in the form of diaries, pens and pencil cases, and also sacrificing your precious bed for me to use during my fieldwork in Lusaka). I am particularly thankful to my niece Patricia Mwitwa for working with me as a research assistant (walya umukoshi mwaiche), Kalaba Kambafwile of Cape Town, Henry and Judy Kambafwile of Cape Town (for spending time assisting me in making final formattingUniversity touches to my thesis of and Capeinterpretation Townof some of the ceremonials I studied). Olachi Okoraphor, Ngozi and Okore Okoraphor of Cape Town for being there for me throughout my research, I am thankful. My thanks also extend to the following people from UCT: Merl Jordan of Student Housing and Residence life, Angie Scheepers, Sheila Taylor, Julie Strauss, Shaheema Luckan, Samuel Kruger, Charles Potgieter, Charles Potgieter Jr and Navile Hartzenberg of the South African College of Music, Anne Wegerhoff of the Graduate School, Gideon Nomdo and Kathy Erasmus of the Centre for Higher Education (Mellon Mays Fellowship Coordinators). v My research would have been poorer without the contribution of my supervisor Associate Professor Anri Herbst who spent time checking the progress of my work and offering valuable comments on my research – thank you very much. I am also thankful to Mr Edwin Hees of the University of Stellenbosch for his professional assistance with the copy editing of this thesis. Special thanks to Ajwang Warria for assisting me in transcribing my interview recordings, and Alain Rayn for setting my music transcriptions to Sibelius software. The little stream in the valley means more to me than the ocean1 University of Cape Town 1 Adaptation of the lyrics by José Fernández of he song Guantanamera vi Dedication Uwakwensha ubushiku bamutasha nga bwacha To the late Abram Mwansa Patrick Lumbwe, Mrs G. K. P. Lumbwe and her grandchildren: Patricia Chishimba Kachasa, Zenzele Mwansa Pahla, Chomba Thompson Kachasa, Abram
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