Arts and Culture

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Ikhono LikaMakhaye N J Lokubhala Inoveli Engajwayelekile Nokuchaza Esebenzisa Ulimi Olunothile Enovelini Yakhe Ethi: Uze Ungikhonzele
(Univeristy of Zululand, 2021) Mthiyane, Thembinkosi Radaford
Lolu cwaningo lucubungula ikhono likaMakhaye N.J. lokubhala inoveli engajwayelekile ethatha usuku olulodwa nokusebenzisa ulimi olunothile uma echaza. Ucwaningo luzama ukuveza ukuthi inoveli iyakwazi ukuthatha isikhathi esifishane. Lokhu kuhlukile enkolelweni ongoti abaningi nababhali bamanoveli abakholelwa ekutheni inoveli kumele ithathe isikhathi eside. UMakhaye usebenzise amasu ahlukene ukubambezela inoveli yakhe ukuthi ingasheshe iphele. Ucwaningo lubuye lugxile kabanzi ekusetshenzisweni kwesifaniso namagama akhethekile enovelini kaMakhaye. Inhloso yalokhu ukunothisa ulimi kule noveli okucwaningwa ngayo. Ucwaningo luphinde lubheke ikhono likaMakhaye elikhethekile neliyingqayizivele lokuchaza kahle abalingiswa kanye nezinto ezivela enovelini yakhe. Lolu cwaningo lunezahluko eziyisishiyagalombili ezihleleke kanje: Isahluko sokuqala siyisingeniso socwaningo lapho kubhekwa khona izinhloso zocwaningo , ingqinamba yocwaningo, intshisekelo yocwaningo, imibuzongqangi, indlela yokuqhuba ucwaningo nomklamo wocwaningo. Isahluko sesibili sizogxila emibonweni yongoti bamanoveli abahlukene. Kuzovezwa izindlela ezahlukene abachaza ngazo inoveli kuqhathaniswa nenoveli kaMakhaye engajwayelekile. Isahluko sesithathu sizoveza izinsizakuhlaziya ezizosetshenziswa kulo cwaningo. Ucwaningo luzogxila kulezi ezilandelayo: Insizakuhlaziya eqanjwe ngomsunguli wayo uKarl Marx, Insizakuhlaziya Yokulandisa, Insizakuhlaziya Ebuka Ngeso Lomfundi kanye nensizakuhlaziya Ethinta Amasiko Nezithombe Isahluko sesine sizoveza iqoqa lenoveli yonke kanye namasu okubhala atholakala enovelini kaMakhaye. Isahluko sesihlanu sona sigxile emagameno akhethekile kanye nokufanisa okusetshenziswe kule noveli. Isahluko sesithupha sikhuluma ngekhono likaMakhaye lokuchaza kahle abalingiswa. Isahluko sesikhombisa sigxile ekhonweni likaMakhaye lokuchaza kahle izinto ezisetshenziswe enovelini yakhe. Isahluko sesishiyagalombili siveza imiphumela, iziphakamiso kanye nesiphetho socwaningo.
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.
Informal business enterprises and their impact on the sustanability of the city of Pietermaritsburg
(University of Zululand, 2000) Ngcaweni, Beauty Nobahle; Makhanya, E.M.
There has recently been an increase of clusters of informal business operators in different parts of the city of Pietermaritzburg. Allegations have been made that street vending causes pollution of the environment in the city and that it was an illegal activity associated with crime and other anti-social activities that were inimical to formal business enterprises and the viability and sustainability of the city of Pietermaritzburg. This dissertation was conducted in the context of Agenda 21 of the Rio Earth Summit which advocates for sustainable development of business enterprises, which governments worldwide were persuaded to adopt in their development planning policies. The Pietermaritzburg-Msunduzi Transitional Local Council (TLC) has recently initiated a move to implement the Local Agenda 21 programme as advocated by the Rio Declaration. The main aim of the dissertation was to examine the impact of the informal business enterprises on formal business and the environment, and thereby determine the sustainability of the city of Pietermaritzburg. It was found in this dissertation that street vending was related to the high rate of unemployment in Pietermaritzburg, and that both males and females in their productive years were involved in street vending. Informal businesses were found to be partially responsible for littering and environmental pollution in the city by generating litter from the items they sold on the streets. It was also found that many of the street vendors lived in squalid informal settlements or on the street pavements which contributed to the pollution of the city's environment. It was found that their actions resulted" from an involuntary and necessary condition of poverty. The Street vendors were actually actively engaged in cleaning up operations and environment education in accordance with local Agenda 21. The informal business enterprises were found to be recognised legal activities that cooperated with formal business, the city council and other stakeholders in the fight against environment pollution and crime. It was found that there was a complementary relationship between formal and informal business, which did not jeopardise formal commerce and industry and the sustainability of the city of Pietermaritzburg. It is argued in this dissertation that, with more positive encouragement and assistance, the informal sector is an essential means of alleviating the problems of unemployment and poverty. Guided in the correct direction, the informal business enterprises are a way of promoting the viability, development and sustainability of the city of Pietermaritzburg.
The philosophical, behavioural and academic merit of uMaskandi music
(University of Zululand, 2005) Pewa, Elliot Sagila; Khumalo, L.Z.M.
This document on umaskandi is about a vocal musical style that was created and nurtured by the Zulu people. Externally and, at a distance, the style may not appear to be artistically captivating, praiseworthy, and linguistically significant. It is but only on closer scrutiny that the aesthetic worth of the music can be realized. Even then, without a considerable research into a sizeable amount of the people's arts in relation to their life activities, a casual listener may not identify any worthiness in the practice of umaskandi music. This is generally the case with all the music of Africa. The music is contained in the life activities of the people. Having discovered the entertaining element in the music, a serious listener will still be faced with the greater challenges of fathoming the organization of sound, the significance of the libretto and the physical execution, in relation to the lifestyles of the performers. The sound of the music, the observed rhythmic activity of the performers, and the language of the libretto and its elocution are only the surface of the activity. There is still, but, more signification in the unsaid source of the music. The reason for the neglect of this music style by Western cultures and by some modern local indigenous Africans, was not a mere oversight, but a result of stigmatization of all African arts by Europeans, whose intention was to dominate the whole of Africa. They would not succeed in managing the people dictatorially without destroying the latter's culture- For some time, therefore, because of such pressures and the demands of the culture of cities, and missionary education, the Westerners were able to 'convert' some Africans against their own (African) culture. Such attempts to 'Europeanize' Africans took place wherever there were European settlers on African soil. But, because of the breadth of the continent, they could not cover the whole surface of the country. Even amongst those that were reached, like the Zulus, there were always people who were not willing to abandon their indigenous heritage. Many were unbending and insisted on maintaining their traditional arts and cultures. It was from such a cultural attitude and disposition that umaskandi idiom was born. The coming in of democratic rule in South Africa has, however, restored the dignity of every human culture in the country. Therefore, all nationalities are free to practise their various cultures with firmness and self-assurance. This attitude lent more confidence to those that performed umaskandi music. It took some time before 'sophisticated' Africans could appreciate the sound and movement in performance of umaskandi performance style. The other nationalities took a little longer. Up to this day, those that have not been orientated in the language of the performers have not grasped the essence in umaskandi music, because of the social contextual nature of the music. Should a form of prejudice against indigenous African languages be sustained, ignorance about the life and thought patterns of Africans shall grow. This will be a drawback for the South African people as a whole. This phenomenon is worthy of mention because the propagation of isiZulu is getting threatened in many ways. First: There is a big population of Zulu and non-Zulu learners that do not receive tuition of their vernacular because some school managers are negative towards African languages. Secondly: Umaskandi musicians, who are the custodians of isiZulu language and culture, and other Zulu artistes, shall never be comprehended if the language is ignored. So, for those unfortunate learners who do not have isiZulu in their curriculum, the doors are closed on both sides. Since they are not given tuition in the classroom, they are most likely to develop a negative attitude towards the language, which would be a great disaster. In their schooling career, they will also miss the further * education through music' that is provided by Zulu music practitioners at large. Umaskandi musicians, who are speakers of isiZulu language, are in their own way, keepers and propagators of isiZulu culture. Their instruments are tuned in isiZulu style, which is their own instrumental creation bashed on their singing style. Their libretto is in isiZulu. They are historians of isiZulu life and its relevant culture of yesteryear. This will be missed. Umaskandi concept, which embraces the isiZulu instrumental tuning, isiZulu manner of dancing, isiZulu vocal harmony and isiZulu elocution of izibongo (praise poetry) , originated in the indigenous lives of the Zulu people. These people were so solid in their belief and practice that they clang tenaciously onto their culture even when they were exposed to a conglomeration of foreign cultures in the horrible mining environment. Umaskandi concept, therefore, had an effect on the people's behaviour. When the African indigenous people came across the new musical instrumentation at their disposal, they adapted the latter and used them to become an extension of their vocal styles. When conditions in the mines were depressing, degrading and debasing, they painfully sang of the good life that they had left behind in their indigenous homes. Through this umaskandi style, they have, therefore, been able to relate a people's history. The final question in the last chapter is whether umaskandi concept can be a method of education in the performance of instruments just as tonic solfa is a method of vocal music. The question can be extended further to inquire whether umaskandi concept can be a method of moral and cul tural determination and perseverance as it has been the case with Zulu musicians.
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.
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.
Ucwaningo ngomthelela wamalungelo abesifazane nezingane ekuqedeni amasiko nenhlonipho esizweni samaZulu
(University of Zululand, 2014) Xulu, Khwezi. Primrose; Mashiyane, Z.J
Intuthuko ifika nezinguquko ezahlukene nezenza kwesinye isikhathi kuthinteke nosikompilo lomuntu. UMthetho wamaLungelo alethe ushintsho olukhulu eNingizimu neAfrika, abe nomthelela ekuziphatheni kwabantu besifazane nezingane esizweni samaZulu. Lokhu kuthinte kakhulu amasiko nenhlonipho esizweni. Kuzovezwa ukungaboni ngaso linye okukhona ezinhlakeni ezithile mayelana nezinguquko ezithinta isiko ekwenzeni imicimbi ethile bese kuzanywa ikhambi lokwelapha lokhu. Isahluko sokuqala: Lapha kwethulwa ucwaningo ngokuveza inhloso nentshisekelo yocwaningo. Kukhona izihloko ezizokwakha ucwaningo njengengqinamba, indlela yokuqhuba ucwaningo, ukubaluleka kocwaningo, imibono yongoti nabathintekayo. Umklamo uzoveza ukuthi ucwaningo luzobe lugxile kuphi. Ukuchazwa kwamagama athintwa isihloko socwaningo kuzokwenza kucace ukuthi liyini isiko. Isahluko sesibili: Kuzobuzwa abantu ngalokho okuthinta isiko namaLungelo. Uhla lwemibuzo luzosetshenziswa ukuze kuvele imizwa nemibono eyahlukahlukene yabantu. Abantu bamazinga ahlukene intsha, omama kanye nogogo bazophawula bazwakalise imibono yabo ngokulandela uhla lwemibuzo. Kuzofundwa imibhalo yongoti nokuphawula kwabo kanye nolwazi olutholakala emaphephandabeni emisakazweni nakomabonakude. Isahluko sesithathu: Kuzohlaziywa imiphumela yocwaningo kanye nemibono yababhali. Kuzovezwa nezinguquko esezikhona mayelana nendlela okuqhutshwa ngayo amanye amasiko esintu. Kuzobhekwa nezigameko ezenzeka esikhathini okuphilwa kuso ukuthi ngabe amaLungelo aneqhaza elingakanani ekunyuseni izibalo. Isahluko sesine: Kubhekwa izinselelo ezibhekene nesizwe sonkana. Izinselelo ngokwamazinga ahlukene njengamakhosi, intsha, izintombi, nezinsizwa kanye ne Silo samabandla. Kucubungulwa iqhaza isizwe elingasithatha ukubhekana nenkinga nokuqhamuka nesisombululo. Isahluko sesihlanu: Kulesi sahluko kubhekwa iziphakamiso, izincomo nokusonga. Kuningi okungaba izixazululo ezingenza uZulu wonkana asale ethokozile ezintweni ezithintaokungamagugu esizwe samaZulu. Lapha kugoqwa konke ngethemba lokuthi kuzosizakala abantu bamazinga ahlukene kakhulukazi intsha

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