Arts and Culture

Permanent URI for this collection

https://hdl.handle.net/10530/471

Browse

Browsing Arts and Culture by Author "Xulu, M.K."

Now showing 1 - 3 of 3
  • Thumbnail Image
    Item
    Indigenous features inherent in African popular music of South Africa
    (University of Zululand, 1997) Nkabinde, Thulasizwe; Xulu, M.K.
    The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
  • Thumbnail Image
    Item
    Some performance in umbhaqanga music: a study in tradition and change.
    (University of Zululand, 1997) Ntaka, Mfundo Goodwill; Xulu, M.K.
    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. 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 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. To examine some performance principles and techniques involved in the creation and presentation of mbhaqanga music. 2. To outline the socio-cultural changes that has affected this music.
  • Thumbnail Image
    Item
    Song, dance, and worship in the Zionist Christian Churches: an ethnomusicological study of African music and religion
    (University of Zululand, 1997) Pewa, Sibusiso Emmanuel; Xulu, M.K.
    The aim of this study is to investigate the relationship between music and worship in contemporary African society. Since there are various forms of activities that constitute the African society, the study will focus on the Zionists' Church music and worship from an ethnomusicological point of view.
University of Zululand