Academic literature on the topic 'Bukusu (African people) – Songs and music'
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Journal articles on the topic "Bukusu (African people) – Songs and music"
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Shepler, Susan. "Youth music and politics in post-war Sierra Leone." Journal of Modern African Studies 48, no. 4 (November 4, 2010): 627–42. http://dx.doi.org/10.1017/s0022278x10000509.
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ABSTRACTThe brutal, eleven-year long civil war in Sierra Leone has been understood by many scholarly observers as ‘a crisis of youth’. The national elections of 2007 were notable for an explosion of popular music by young people directly addressing some of the central issues of the election: corruption of the ruling party and lack of opportunities for youth advancement. Though produced by youth and understood locally as youth music, the sounds were inescapable in public transport, markets, and parties. The musical style is a combination of local idioms and West African hip-hop. The lyrics present a young people's moral universe in stark contrast to that of their elders. This paper addresses the themes of these election-focused songs as well as the emerging subaltern youth identity discernible in supposedly less political songs.
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Lebaka, Morakeng E. K. "Misconceptions About Indigenous African Music and Culture: the Case of Indigenous Bapedi Music, Oral Tradition and Culture." European Journal of Social Sciences 2, no. 2 (May 30, 2019): 18. http://dx.doi.org/10.26417/ejss-2019.v2i2-61.
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Indigenous Bapedi music and oral tradition have been dismissed as myth, superstition and primitive stories. Such dismissal has been based on the misconception and assumption that indigenous Bapedi music and oral tradition are proletarian, steeped in evil religious experiences and unacceptable for worship. In Bapedi society, indigenous music and traditional oral stories are utilized to buttress and demonstrate the collective wisdom of Bapedi people, as well as to transmit Bapedi culture, values, beliefs and history from generation to generation. This article examines misconceptions about indigenous Bapedi music and traditional oral stories. It argues that indigenous Bapedi music and oral tradition should not be dismissed at face value as practices overtaken by circumstances and hence irrelevant to the present Bapedi community developmental needs. The findings of the present study faithfully reflect that indigenous Bapedi songs and traditional oral stories resonate in people’s personal lives, in religious rituals and in society at large. These findings suggest that Bapedi people should keep and perpetuate their valuable heritage, which is still needed for survival and for the welfare of our next generation. The main question the study addressed is: What role do indigenous Bapedi music and oral tradition play in Bapedi culture?
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Rasolofondraosolo, Zafimahaleo, and Ulrike H. Meinhof. "Popular Malagasy music and the construction of cultural identities." AILA Review 16 (July 8, 2003): 127–48. http://dx.doi.org/10.1075/aila.16.12ras.
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This paper explores the construction of cultural identities through contemporary music from Madagascar, in particular the songs by Dama — singer-song-writer of the eponymous group of musicians- the Mahaleo. Specific focus is on the role that the discourses of and about popular Malagasy music play for the identity constructions of Malagasy people in Madagascar and abroad. Discussions about contemporary African music on the media and in the cultural studies literature, and the record industry’s own appropriation and commercialization of such music as generic ‘world music — tend to neglect the lyrics — and thus the often radical social critique — contained in these songs. Since much of African music is sung in languages not normally known to ‘Western’ audiences, their appreciation hinges on the vibrancy of rhythm and sound, to the exclusion of content. Yet to ‘home’ and ‘diapsoric’ audiences, the texts are of huge significance. Our paper discusses the significance of language choice for popular music in Madagascar in the political movement of 1972 and its aftermath. We will also analyse in detail the lyrics of some typical songs from Mahaleo’s repertoire written by Dama. These will exemplify some of the ways in which the group attempts to encapsulate aspects of Malagasy every-day life, thus providing a cohesive link not only between several generations of Malagasies in Madagascar itself, but even more pronouncedly for those Malagasies who have left Madagascar and settled overseas. Finally, we will show the ways in which audiences create and perform ‘being Malagasy’ through the medium of their popular music, demonstrating the extent to which the project of ‘Mahaleo’ is being reflexively and consciously understood and taken up by their listeners.
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Kalinde, Bibian, and Dorette Vermeulen. "Fostering children’s music in the mother tongue in early childhood education: A case study in Zambia." South African Journal of Childhood Education 6, no. 1 (December 3, 2016): 9. http://dx.doi.org/10.4102/sajce.v6i1.493.
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The influence that the use of a familiar language has on learning has long been explored with suggestions that a child’s mother tongue is the most suited initial language of instruction in school. In Zambia, however, this is not the case as the majority of people think that young children should learn to speak in English as soon as possible because this is the language of education. As a result, songs in English dominate the singing repertoire in pre-schools even when children have not mastered sufficient English vocabulary. Singing songs in English, just as teaching children in a language they do not understand, has been shown to hamper learning. The theoretical lens of indigenous African education underpins the study in order to investigate how music in the mother tongue in a cultural context can foster educational aims. Research participants included an expert in Zambian indigenous children’s songs who also acted as resource person and led 18 children aged between 5 and 6 years in sessions of music in their mother tongue. The findings of the study revealed that educational implications of children’s participation in music in the mother tongue can be found in the way in which they are organised, the activities they involve and in the music elements that characterise them.
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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.
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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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Adelakun. "Black Lives Matter! Nigerian Lives Matter!: Language and Why Black Performance Matters." Genealogy 3, no. 2 (April 14, 2019): 19. http://dx.doi.org/10.3390/genealogy3020019.
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This essay explores performance as a language by looking at its appropriation by other cultures, and the associated history of the crafted phrases that are borrowed along. I start by noting that to create awareness of the massacres that have recently occurred in some parts of Nigeria, commentators, both in and out of the country, and activist-cum-protesters created the term “Nigerian Lives Matter.” They appropriated from “Black Lives Matter,” the American-originated advocacy movement that campaigns against violence and brutality against black people. I show that these forms of lexical interchange are possible because of non-Americans’ familiarity with America’s racial history, and black performance liberation expressivity, which they have been acculturated into as a result of their long exposure to American culture. Beyond phrases however, I argue that black performance itself is a language that has a global resonance among minorities. To illustrate this further, I do a close reading of This is Nigeria, a recent music video released by Nigerian lawyer turned artist, Folarin Falana (Falz), alongside a version of the original production, This is America, also recently released by Donald Glover (Childish Gambino). Both songs continue in the older tradition of African and African American transatlantic political relations through music, the shared understanding of the similarities of anti-black oppression, and the formation of aesthetics that mediate the advocacy of black liberation. The songs are also a pointer to how black advocacy might continue to unfold in contemporary era.
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SMITH, CHRIS. "Going to the Nation: the idea of Oklahoma in early blues recordings." Popular Music 26, no. 1 (January 2006): 83–96. http://dx.doi.org/10.1017/s0261143007001146.
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This paper considers references to Oklahoma in blues recordings from 1924 to 1941, and the paradox that, although the reality of life for African-Americans in that state was little different from life in the Deep South, the recordings usually speak of migration to Oklahoma in optimistic terms. The notion that the Indian Nation (a.k.a. ‘the Territory’) had been a refuge for runaway slaves is rebutted, together with the conclusion that optimistic references in the blues preserve this idea as a collective memory. What is being recalled is rather the period between the Civil War and statehood (1907): the former slaves of Native Americans in Oklahoma became tribal members, gaining the civil and property rights accorded to tribes-people, and the black townships movement offered the prospect of autonomy and self-government on the frontier. Two songs which take a negative view of Oklahoma's Jim Crow reality are also considered.
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Okoro, Justice Chukwudi, and Festus Goziem Okubor. "Abigbo’s Identity in Music Making and Repertory of Songs: The Mbaise People’s Heritage." UJAH: Unizik Journal of Arts and Humanities 21, no. 2 (March 30, 2021): 170–94. http://dx.doi.org/10.4314/ujah.v21i2.9.
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This paper directs attention to Abigbo, an outstanding traditional music of Mbaise people of Igbo south, east of the Niger. It gears to interrupt and challenge willful observations by western-oriented music lovers’ derogatory opinion, contrary to music in traditional setting such as ‘Abigbo’. To realize this objective and prove wrong the ill-informed critics, ‘Abigbo’s uniqueness in song rendition and peculiarity in music making is conspicuously examined here as a case study. The origin and development of Abigbo, its uses, and relationship with other aspects of Mbaise culture are discussed in this work. The musical challenges are highlighted with the dance formation, movements/steps and the ensembles costumed critically analyzed. All these are essentially adumbrated in association with music making trends in contemporary Mbaise. Equally reviewed where applicable are Abigbo’s relevance and inevitable roles in achieving the goal of societal well being. Song communication supported with body language and phonic emission via vocals are equally matters of great interest here. Methods employed in the data collection are library source of information obtained from associated printed materials documented in the library shelves. The researcher consulted relevant ones, read through them during desk work, and use their extracts as backup information to the subject of discourse which he initiated. Few of the procured print media materials are equally paraphrased as and when due. Datum is also secured through participant observation. At this juncture, the researcher’s sense of sight and aural perceptions are actively utilized along with retentive memory with the view to capturing the salient points needed for the paper. A few literature reviews that border round music making in rural culture are altogether, examined to guide and back up the thrust of this discourse. Abigbo has proved its worth beyond all reasonable doubt during its performance presentation in Mbaise social culture. The musicians’ close attention to the masses, particularly the zealous ones who are inclined to get at African tribes’ traditional music to subject them to western notation is a spring board to its fame. At this juncture, we resolve that for music making through song communication to logically reign supreme in Abigbo, its practice by interested artistes should be enhanced and encouraged even beyond the ensemble’s environmental origin. This done helps to secure indigenous interest akin to norms and values within the fabric of Mbaise society.
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Pati, R. N., Shaik B. Yousuf, and Abebaw Kiros. "Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture." International Journal of Social Sciences and Management 2, no. 4 (October 25, 2015): 315–26. http://dx.doi.org/10.3126/ijssm.v2i4.13620.
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Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains social cohesion through cultural expression at different social occasions and resists cultural changes infused through globalization. The globalization has brought a series of transformation and changes in the world of Ethiopian music through commercialization, commodification and digitalization of cultural expressions apart from hijacking the cultural rights of traditional musicians. The younger generations have been attracted towards western music undermining the aesthetic and cultural value of music tradition of the country. The international enactments relating to protection and safeguarding of cultural rights of people are yet to be appropriately translated into reality. The emergence of culture industries and entertainment houses has posed serious threats to local culture and led to disappearance of local traditions, musical heritage and their replacement by popular global music. The cultural homogeneity and commodification has replaced the multiplicity of cultures in this globalized era. This paper based on review of published articles and content analysis critically unfolds sensitive areas of cultural shock and violation of cultural rights exposed to traditional musicians and traditional singers of Ethiopia during last couple of decades.Int. J. Soc. Sci. Manage. Vol-2, issue-4: 315-326
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Lebaka, Morakeng Edward Kenneth. "Ethnographic Research of the use of Music in Healing as a Cultural Phenomenon in Greater Sekhukhune District Municipality, Limpopo Province in South Africa." DIALOGO 7, no. 2 (June 30, 2021): 60–66. http://dx.doi.org/10.51917/dialogo.2021.7.2.5.
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This study investigates the relationship between music and healing in the African context, as well as the relationship between music, culture, and identity. Since the traditional approach to music-making makes it a part of the institutional life of the Bapedi community, among the Bapedi people, the music itself was and is thought to enable communication with the living-dead, often inducing ancestral spirit possession, ‘causing the spirits to descend’. We observe in this study how traditional healers in the Greater Sekhukhune District Municipality express their emotions through music, and how they use music for regulating their emotions during malopo religious rituals. The main goal of the study was to examine how these emotions relate to traditional healers’ mental health and wellbeing. A range of data collection and analysis were employed in this study. The research employed a naturalistic approach and the primary source for data collection was oral interviews. The data was collected through video recordings of malopo religious rituals, interviews, and observations. Relationships between music, expression, and movement, as well as music, culture, and identity were elucidated. The results have demonstrated that during the dance itself, the healing power of the dance, is shown by both the trainees and their traditional healers, for example, during malopo ritual, after reaching a state of trance, they become spiritually healed. Villagers who witnessed the dance and participated only as an audience, also indicated a feeling of wellbeing after participating in the malopo ritual. The study has revealed that music is an integral part of the Bapedi culture and heritage. Furthermore, it was found that malopo ritual is a performance for appeasing possessing ancestral spirits such as those of the traditional healers and their trainees, which may cause illness if displeased, but on the other hand, may empower the traditional healers to execute the healing process. The research suggests that malopo ritual binds the people to their ancestors (the ancestral realm) and also provides healing therapy. Songs are sung and recited in order to create harmony between the living and the living-dead.
Dissertations / Theses on the topic "Bukusu (African people) – Songs and music"
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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.
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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
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Burns, Carolyn Diane. "The relevance of African American singing games to Xhosa children in South Africa a qualitative study /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.
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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.
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Mphaphuli, Murembiwa Julia. "Tsenguluso ya kubveledzele kwa ndeme ya nyimbo dza sialala dza Vhavenda." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1240.
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Thesis (MA. (African Languages)) --University of Limpopo, 2013Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.
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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
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Rabothata, Thambatshira Tannie. "Women abuse as expressed in Tshivenda female songs." Thesis, University of Limpopo (Turfloop Campus), 2005. http://hdl.handle.net/10386/892.
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Thesis (Ph.D. (African Languages)) --University of Limpopo, 2005This study investigates the expression of women abuse through female songs. Groups of singers from twenty-two communities were listened to during the study. A qualitative analysis was undertaken. Songs obtained from secondary sources, were compared and analysed in the same way in which those obtained from the singers themselves were analysed. In particular, the usefulness of these singing groups was examined. It was found that most of the women who are experiencing abuse of some kind, derive perceived social support from fellow singers. All the women in the different singing groups declared that they were not singing for the sake of singing but that they were sending messages to the perpetrators of abuse in the expectation that a change will be realized. Singing groups were found to be effectively providing assistance in dealing with emotional abuse. The study thus illuminates the subjective use of referential expressions in expressing abuse. This emphasizes the challenge for singers to check whether or not the manner in which they present their pleas is appropriate.
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Dargie, David John. "Techniques of Xhosa music: a study based on the music of the Lumko district." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001975.
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Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.
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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
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Bouttiaux, Anne-Marie. "La danse des hommes, la jubilation des esprits: masques guro de la région de Zuenoula, Côte d'Ivoire." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211693.
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Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.
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Accompanying music files attached (mp3)The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group.
Arts History, Visual Arts & Musicology
D. Mus.
Books on the topic "Bukusu (African people) – Songs and music"
1
History of juju music: A history of an African popular music from Nigeria. [Jamaica, NY]: The Organization, 1992.
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African rhythm: A Northern Ewe perspective. New York: Cambridge University Press, 1995.
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Mwaniki, Henry Stanley Kabeca. Categories and substance of Embu traditional songs. [Nairobi]: Kenya Literature Bureau, 1986.
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Nightsong: Performance, power, and practice in South Africa. Chicago: University of Chicago Press, 1996.
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Dargie, David. Xhosa music: Its techniques and instruments, with a collection of songs. Cape Town: D. Philip, 1988.
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Mwaniki, Henry Stanley Kabeca. Categories and substance of Embu traditional songs and dances. Nairobi: Kenya Literature Bureau, 1986.
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England, Nicholas M. Music among the Z̳ũ'/wã-si and related peoples of Namibia, Botswana, and Angola. New York: Garland Pub., 1995.
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Jùjú: A social history and ethnography of an African popular music. Chicago: University of Chicago Press, 1990.
Find full textBook chapters on the topic "Bukusu (African people) – Songs and music"
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Sacré, Robert. "Black Music USA: From African to African American Music." In Charley Patton, 3–12. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816139.003.0001.
Full textAbstract:
This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.
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Rapport, Evan. "“Decisions with Precisions”: New Directions for Hardcore in Washington, DC." In Damaged, 205–32. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0007.
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The music made in Washington DC in the late 1970s and early 1980s fundamentally changed punk. Washington DC was a different environment than the other cities where punk was based in that it was majority Black during this period, with a significant Black presence in the suburbs. The emergence of Bad Brains, an all-Black quartet, at the center of the scene established punk as an authentic form of expression for African Americans and other people of color. Bad Brains and Minor Threat also raised the stakes for musicality in hardcore punk, with complex songs played with virtuosic technique, and they reintroduced elements such as blues-based riffs and rhythmic variations. This chapter also describes the ways in which the punk scene in Washington DC solidified punk’s status as music by and for teenagers and Generation X.