UNIVERSITY OF KWAZULU-NATAL A study on the creative processes of ngalanga traditional music and dance from Mozambique: Expressions of the Mozambican Chopi immigrant community of Clermont Township in Durban. A dissertation submitted in fulfilment of the requirements for the degree of Master of Arts-Applied Ethnomusicology College of Humanities, School of Arts University of KwaZulu-Natal By José Alberto Daniel Chemane (208521387) December, 2018 Supervisor: Dr. Patricia Achieng Opondo i Abstract This study is an ethnographic enquiry on the creative processes engaged in ngalanga by a migrant community of Mozambicans in Clermont Township in Durban. It discusses how creative actions are conceived and applied to indigenous dance traditions of a migrant community and how these traditions find expressions within the context of their new environment. Ngalanga is one of the indigenous music traditions that is found among the Chopi from Mozambique, and whose studies within ethnomusicological circles is scanty. Literature available on Chopi musical tradition largely focuses on the timbila tradition although other musical traditions such as ngalanga find equal space within the performance repertoire of the Chopi. This research draws on the theoretical formulations as grounded in interpretative innovation, socio-musical practice and system model of creativity to understand how creative processes are engaged within the creation and performances of ngalanga and how these serve as a tool to negotiate space for self-expression, recognition, cultural dialogue and a means of sustenance within this migrant community. Data for the study was collected through interviews and participant observations of musical activities of the Mozambican migrant community in Clermont Township in Durban that performs ngalanga in addition to available literature on the music and dance traditions of the Chopi. The study is organized in six chapters - chapter one is an introduction to the study, chapter two discusses the body of literature on Chopi music and dance traditions. Chapter three examines migration issues as related to Mozambique and ngalanga performance analysis, chapter four discusses the creative conventions in ngalanga, chapter five focuses on ngalanga dance analysis, and chapter six summarizes and concludes the study. i List of Maps, Diagrams, Figures, and Abbreviations Maps Figure 1.1 Map of Clermont Township………………………………………………………...4 Figure 1.2 Map of the eThekwini Municipality….……………………………………………..5 Diagrams Figure 2.1 Systems model of Creativity...……………………………………………….28 Figure 3.1 Ngalanga setup……………………………………………………………….39 Figures Figure 1.3 António Zango…………………………………………………………………6 Figure 1.4 Arlindo Massangaio……………………………………………………………7 Figure 1.5 Tualufo Nhamuneque Massianhane…………………………………………..8 Figure 1.6 Arsénio Calisto Khau………………………………………………………….9 Figure 1.7 Paulo Gune…………………………………………………………………...10 Figure 1.8 Adelino Nhamunesse…………………………………………………………11 Figure 3.1 Drums being warmed up……………………………………………………..39 Picture 3.2 Tshindzomana drum…………………………………………………………40 Figure 3.3 Tshindzomana players………………………………………………………..41 Figure 3.4 Ntshinga (lead drum)...………………………………………………………..41 Figure 3.5 Three finger technique………………………………………………………..42 ii Figure 3.6 Tshikhulu drum………………………………………………………………43 Figure 3.7 Sange mbila…………………………………………………………………..43 Figure 3.8 Mitchatcha rattles……………………………………………………………44 Figure 3.9 Mitchatcha tied on the dancers’ legs………………………………………..45 Figure 3.10 Tshikhulu player……………………………………………………………45 Figure 3.11 Ntshinga player…………………………………………………………….46 Figure 3.12 Ngalanga setup……………………………………………………………..47 Figure 3.13 Rehearsal site………………………………………………………………58 Figure 3.14 Audience members’ participation during the Street Festival……………….61 Figure 4.1 Three finger press technique………………………………………………....67 Figure 4.2The researcher and the lead drummer……………………………………….103 Figure 5.1 Kukavata dance posture …………………………………………………….117 Figure 5.2 Ngalanga dance members dressed in a mix of dance attire………………...119 Figure 5.3 A Pan-African mix of dance attire…………………………………………..120 Figure 5.4 Dancers’ procession ………………………………………………………...122 Figure 5.5 Line dance…………………………………………………………………..123 Figure 5.6 Tshigaza dance posture ……………………………………………………..125 Figure 5.7 Audience members taking a dance solo…………………………………….128 Figure 5.8 Mavingwa solo………………………………………………………………130 Figure 5.9 Two audience members taking dance solos………………………………...131 Figure 5.10 Two women taking a solo…………………………………………………132 iii List of Abbreviations DAC: Department of Arts and Culture DHA: Department of Home-affairs FRELIMO: Mozambique Front Liberation NGO: Non-Government Organization PV: Pattern Variation RENAMO: Mozambique National Resistance UNHCR: United Nations High Commission for Refugees iv Acknowledgements First and foremost, I would love to thank God for the enlightenment throughout my Academic journey. All the glory and praises go to him. Secondly, I would love to thank my precious family and God-fearing mother. Your unconditional love and support have been my pillar of strength. My votes of appreciation go to my supervisor, Dr. Patricia Achieng Opondo for her guidance, motivation, patience and mentorship during the process. Your support was crucial for the successful conclusion of this research. I would like to thank the Chopi migrant community based in Clermont for their consent to share your valuable knowledge. Without your participation this study wouldn’t have materialized. I will forever be grateful. To my family and friends across the globe, I will forever be grateful. My gratitude is extensive to everyone who direct or indirectly supported me through this journey. v Dedication To my father Mr. Daniel Chemane, vi Declaration I, José Alberto Daniel Chemane declare that the content of this research report is my original work. This research report has not been submitted for any degree or examination at any other tertiary institution. All data contained in this report document was produced specifically for the purposes of this research. Otherwise, where sources have quoted or used, full acknowledgement has been made. Signed _____________ vii Contents Abstract ............................................................................................................................................ i List of Maps, Diagrams, Figures, and Abbreviations ..................................................................... ii List of Abbreviations ..................................................................................................................... iv Acknowledgements ......................................................................................................................... v Dedication ...................................................................................................................................... vi Declaration .................................................................................................................................... vii CHAPTER ONE ............................................................................................................................. 1 INTRODUCTION .......................................................................................................................... 1 1.1 Background ........................................................................................................................... 1 1.2 Problem Statement ................................................................................................................ 2 1.3 Research objectives ............................................................................................................... 3 1.4 Significance of the study ....................................................................................................... 3 1.5 Location of the study ............................................................................................................. 4 1.6 Research Methodology .......................................................................................................... 6 1.6.1 Research participants ...................................................................................................... 7 1.6.2 Data Collection Instruments ......................................................................................... 14 1.6.3 Sampling Technique ..................................................................................................... 14 1.6.4 Data Analysis ................................................................................................................ 15 1.6.5 Validity and Reliability ................................................................................................ 15 1.6.6 Research Design & Outline .......................................................................................... 16 1.7 Chapter Summary ................................................................................................................ 16 CHAPTER TWO .......................................................................................................................... 17 LITERATURE REVIEW AND THEORETICAL FRAMEWORK ............................................ 17 2.1 Introduction ......................................................................................................................... 17 2.2 Chopi Music ........................................................................................................................ 17