Academic literature on the topic 'Music and dance – South Africa – Limpopo'
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Journal articles on the topic "Music and dance – South Africa – Limpopo"
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Chambers, Paul W. "A STUDY OF THE DINAKA PIPE DANCE OF THE PEDI PEOPLE IN SOUTH AFRICA." African Music: Journal of the International Library of African Music 10, no. 4 (November 22, 2018): 7–39. http://dx.doi.org/10.21504/amj.v10i4.2231.
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This article provides a description and musical analysis of the Pedi genre known as dinaka, as it is currently practised (2016) in the rural areas throughout the Limpopo province. The role of this music is examined along with the implications of learning and performing it as a cultural outsider. The construction, methods of tuning, and playing techniques of the pipes, drums, and other instruments associated with dinaka are discussed. The form and structure of the music are interpreted as well as the idioms of rhythm, melody, and dance repertoire which imbue the genre with a distinct sound. Common methods for creating improvisational variations among the instrumental and dance parts are explained. The connection of dinaka to styles of Pedi vocal music is examined along with the proverbial meanings of the songs with which these melodies and rhythms are associated. Transcriptions of the dance steps, pipe melodies and drum rhythms have been developed to provide a visual representation of the music. The aim is to provide a resource from which one can study and understand the many aspects of dinaka.
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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.
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Lebaka, Morakeng Edward Kenneth. "Integration of Vocal Music, Dance and Instrumental Playing in St Matthews Apostolic Church: Maphopha Congregation." European Journal of Interdisciplinary Studies 4, no. 2 (July 24, 2018): 34. http://dx.doi.org/10.26417/ejis.v4i2.p34-44.
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There are a number of different approaches to determining the functions of music. Members of St Matthews Apostolic church – Maphopha congregation in Sekhukhune district – Limpopo Province in South Africa identify themselves by their music and allow music to become a representation of themselves. In responding to a song, to a hymn, they are drawn into affective and emotional alliances. Their relationship to music is inevitably based upon their emotions and internal connection to a particular song. Emotionally intense songs are even used during funerals to cue specific emotions from the audience for suspense, heartbreak, or a peaceful resolution. Songs, then, become an active ingredient in their lives as they find ways to employ music as a tool to share in their life experiences and bring them to a desired emotional state. The purpose of this study was to contribute towards documenting and describing the integration of vocal music, dance and instrumental playing in this church. To achieve this aim, the study employed a naturalistic approach and data was collected through video recordings of church services, interviews and observations. The primary question the study addressed is: how is collective identity formed through music and how does religious music serve as a core part of culture? The results have shown that in this church, music is manipulated to serve congregational purposes. The investigation has also shown that identity is largely related to musical preference, and the congregants use music to understand who they are and define themselves internally as well as externally.
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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.
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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.
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Erlmann, Veit. "‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39." Popular Music 8, no. 3 (October 1989): 259–73. http://dx.doi.org/10.1017/s026114300000355x.
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On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi and isishameni. The kinesic patterns of ingoma are inseparably linked to choral songs in call-and-response structure and, as such, constitute a complex statement of the unity of dance and song in Zulu performance culture. The peak of Zulu-speaking migrants' dance culture, ingoma evolved out of the profound transformation of traditional rural Zulu culture through impoverishment, dispossession and labour migration around the first World War. But on that night of January 1930, at the climax of the spectacle, the ingoma dancers struck a particularly defiant note:Who has taken our country from us?Who has taken it?Come out! Let us fight!The land was ours. Now it is taken.We have no more freedom left in it.Come out and fight!The land is ours, now it is taken.Fight! Fight!Shame on the man who is burnt in his hut!Come out and fight! (Perham 1974, p. 196
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van Vuuren, Eurika Jansen, and Caroline van Niekerk. "Music in the Life Skills classroom." British Journal of Music Education 32, no. 3 (November 2015): 273–89. http://dx.doi.org/10.1017/s0265051715000340.
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Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject advisors, often have had no music training. The twofold purpose of this study was to determine the extent of challenges experienced in the music component of Life Skills and Creative Arts in South Africa and how this can best be dealt with. In the current study, mixed methods research was conducted to ascertain the problems experienced with music tuition in Life Skills and Creative Arts classrooms. It was found that generalist educators have to teach music, whether they have the requisite skills or not. The subject has low status and is frequently used as a filler subject for teachers. Lack of music knowledge, scarce resources, limited support and ever-changing educators are some reasons for the absence of quality music tuition. Mentoring by competent subject advisors and senior educators and the re-alignment of school and university curricula will assist music in enjoying its rightful place in the school curriculum.
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Kruger, Martinette, and Melville Saayman. "A 3E typology of visitors at an electronic dance music festival." International Journal of Event and Festival Management 7, no. 3 (October 10, 2016): 219–36. http://dx.doi.org/10.1108/ijefm-04-2016-0027.
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Purpose The purpose of this paper is to determine the motives of visitors to an electronic dance music (EDM) festival in South Africa and clustered the participants according to these motives. Design/methodology/approach Based on a visitor survey at the oldest EDM festival in South Africa, namely, H2O, five motives for attending H2O were identified (fun and dance; novelty; excitement, group identity and entertainment; lifestyle and well-being; and travel and escape), while the results revealed three clusters of EDM festival visitors: enthusiasts, energizers and electros. The results demonstrated that clustering EDM festival visitors based on their motives is a useful market segmentation tool as it yields a clear and direct profile and understanding of different types of attendees and their preferences. Findings The results as well as findings emphasize how EDM events can play a role in expanding tourism, especially youth travel, by hosting more EDM festivals in the country. Originality/value The study proposes a 3E typology of EDM festival visitors that could be applied to other EDM festival and event markets. This research, therefore, makes a clear contribution to the literature on EDM festivals and events and the market that this distinct music genre attracts.
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Holtzhausen, Cornelius A. "SOKKIE DANCING IN PRETORIA: POPULAR AFRIKAANS MUSIC, DANCE, AND IDENTITY." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 25–40. http://dx.doi.org/10.21504/amj.v11i2.2312.
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Afrikaans protest music influenced by rock has received a substantial degree of academic attention in recent years. While significant, the emphasis on Afrikaans protest music has left Afrikaans pop music largely unexamined. As this genre enjoys wide popularity amongst Afrikaners, this article considers this lacuna in academic inquiry. Afrikaans pop music is widely consumed in South Africa and is a major part of its music industry. In this article, I bring into focus how a strand of music, that might seem to avoid meaningful dialogue through superficial lyrics, forms part of an Afrikaner subculture and a strategy to preserve identity, norms, and values. In particular, I argue for a wider contextual understanding of music and the limitations of lyrical analysis to produce meaningful insight into music’s role in enabling participants to negotiate identity and place. Drawing on fieldwork conducted at Presley’s, a night club in Pretoria, I elucidate this process through the dialogue between Afrikaans music and sokkie dance.
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Ballantine, Christopher. "Concert and Dance: the foundations of black jazz in South Africa between the twenties and the early forties." Popular Music 10, no. 2 (May 1991): 121–45. http://dx.doi.org/10.1017/s0261143000004475.
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The explosive development of a jazz-band tradition in South African cities from the 1920s – closely allied to the equally rapid maturation of a vaudeville tradition which has been in existence at least since the First World War – is one of the most astonishing features of urban-black culture in that country in the first half of the century. Surrounded by myriad other musics – styles forged by migrant workers; traditional styles transplanted from the countryside to the mines; petty bourgeois choral song; music of the church and of western-classical provenance – jazz and vaudeville quickly established themselves as the music which represented and articulated the hopes and aspirations of the most deeply urbanised sectors of the African working class.
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Friedman, Sharon. "Mind the gap: reflections on the current provision of dance education in South Africa, with specific reference to the Western Cape." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 39–54. http://dx.doi.org/10.2989/18121000609486708.
Full textDissertations / Theses on the topic "Music and dance – South Africa – Limpopo"
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Thema, Kgaladi Malthews. "Sekgapa : a culture-based study of a musical tradition of BaPedi women of Mailula, Mmamabolo district, Limpopo Province, South Africa." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8142.
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Includes bibliographical references (leaves 86-88).This dissertation sets out to provide a culture-based study of BaPedi women's Sekgapa Music.The Preface presents the topic, the research environment and methodology, a review of the existing literature, fieldwork 'protocol' and a synopsis of the first recording events. Chapter 1 provides a historical background to the music, whose origins remain largely unaccounted for; and an account of the researcher's personal 'journey' which brought him to his research project. Chapter 2 concerns Sekgapa as a distinctive genre of women's music, reflecting their roles in BaPedi rural economy, and in their individual households, and community. There are also accounts ofSekgapa performance contexts and their social functions. Chapter 3 looks at some requirements of Sekgapa performance style (including dancing dress and delivery of Direlo Praises), something of the concepts underlying the musical action, and correlations between certain dance style variants and BaPedi totemic associations. Chapter 4 contains description of the sound instruments-the drums and their contribution to the music and playing methods and technique, (with some musical examples to illustrate thetext), and the construction of sound-making accessories (hand-and ankle-rattles). Chapter 5 provides descriptions of the basic musical components of Sekgapa-its form, structure and style, instrumental polyrhythm, vocal homophony (with musical examples and content and meanings of song-texts, using 10 songs as representative examples.) Chapter 6 provides reasons for the restricted scope of the musical analysis, and the use and function of Sekgapa performances for social education, directed at the youth. The research draws attention to the serious gap in African music research in South Africa, and in BaPedi musical culture generally. Andrew Tracey's urgent plea (1991) for the 'patronage' of African music and musicians work is recalled, because it is no less urgent today than it was fourteenyears ago. Tracey' stance on the matter of the unequal 'arts patronage situation' existing betv.een popular urban African music, which continues to enjoy government and media support. and cultural music in which musicians are denied this. is endorsed by the researcher, who reiterates the urgent need for African music conservation, through research and sustainable performance practice, before it is too late, and musical genres "stagnate" and disappear altogether.
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Kruger, Esthea. "An analysis of Priaulx Rainier’s Barbaric Dance Suite for piano." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1883.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.Priaulx Rainier (1903-1986) was a South-African born composer whose highly original compositional style attracted great attention during her lifetime. She spent most of her life in England, but was inspired by the images and recollections of her youth in Africa. Despite the critical acclaim she received, little research has been done about her, both in South Africa and abroad. Additionally, the nature of existing sources is mostly not analytical, but rather provides an overview of her life or general aspects of her style. Although some conclusions have been drawn about her compositional style, they are not thoroughly substantiated by concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often linked by authors to the “African” element of her idiom), with an evident disregard of the other aspects of style, most notably with regard to pitch coherence. This research attempts to correct this unbalanced discourse by analysing one of her few solo piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch relations, similarities and contrasts. The rationale for selecting this specific work originated from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the three DANCES, their structural embryo is, on a small scale, the basis for most of the later works.” Although the scope of the research did not allow for a comparative analysis, it is strongly believed that the conclusions reached in this study could also be applicable to many of Rainier’s other works, especially of the early period. The study consists of an introduction in which the Barbaric Dance Suite is contextualised, followed by the main body of the thesis that consists of a detailed analysis of each of the three movements. The foremost method of analysis used is set theory analysis, which could be briefly described as a method whereby (particularly atonal) music is segmented and categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch, traditional methods of analysis are employed to examine the other musical parameters. In the conclusion, the analytical results are contextualised with regard to existing pronouncements on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical system in Rainier’s music. The many complex pitch relations that were discovered by the intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in other works could lead authorities to revise the insistent pronouncements on her rhythmic use in favour of a more balanced assessment of all aspects of her compositional style.
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Green, Alida Maria. "Dancing in borrowed shoes : a history of ballroom dancing in South Africa (1600s-1940s)." Diss., Pretoria : [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-10202009-190259.
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Macagnano, Marco. "A Centre for the Performing Arts: catalyst for urban regeneration." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/29892.
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Salvokop, the site chosen for this project, is due for some major changes in the next few years. Current development on Freedom Park, the future Gautrain initiative as well as a new drive by the local municipality to integrate the area into the CBD of Pretoria through a major 'Cultural Spine' throught the city make Salvokop a future destination of major interest. The Centre for the Performing Arts seeks to appeal to all facets of South African culture through a medium of expression that all appreciate: the medium of performance art. Specifically speaking, perfromance art applies to music, dance and drama. It is the ambition of this project to cater for al these forms on a level with which both public and performer may participate. Integration into the urban landscape is key, with this Centre engaging with the intended urban fabric of the area in such a way as to create a ariety of indoor and outdoor recreation and performance spaces.Dissertation (M Arch (professional))--University of Pretoria, 2005.
Architecture
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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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Koch-Locner, Aletta Maria. "Music for early childhood : guidelines for parents in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/19635.
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Thesis (M.Mus.)--University of Stellenbosch, 2007.ENGLISH ABSTRACT: The research for this thesis is presented in the form of a practical guideline for parents and educators in the Western Cape area. The important role of music in early childhood is emphasised throughout. Research, guidance and practical activities for the music education and development of the toddler and preschooler, are presented. The author answers and discusses the questions frequently asked by parents concerning musical education for their children, namely why, when and how, in the five chapters of the thesis. The importance of music education for children (the question concerning why) is discussed and emphasised by means of eleven different reasons supported by research. In Chapter 2, the important role of the parent as the child’s first music educator and prenatal stimulation is discussed (the question concerning when). In the two chapters that follow, the author provides parents with information about basic music concepts and skills that children should be able to master at specific ages. Throughout these chapters, practical activities to illustrate these concepts and to practise the relevant skills are suggested (the how question). Guidelines are presented concerning how play with the child should be approached and handled, as well as guidelines for the child’s first formal instrumental teaching and for choosing an instrument and a music teacher. The research is concluded with a practical section containing extensive lists of songs (in categories), CDs, DVDs, books and web addresses for the use of parents needing resources and further guidance.
AFRIKAANSE OPSOMMING: Die navorsing vir hierdie tesis word in die vorm van ‘n praktiese handleiding vir ouers en opvoeders in die Wes-Kaap provinsie aangebied. Die belangrike rol van musiek in die voorskoolse kind se lewe word deurgaans beklemtoon. Navorsing, riglyne en praktiese aktiwiteite vir die musiekopvoeding en ontwikkeling van die voorskoolse kindword, word prakties aangebied en bespreek.Die outeur beantwoord en bespreek die vernaamste vrae wat ouers ten opsigte van musiekopvoeding vir hul kinders vra, naamlik hoekom, wanneer en hoe, in die vyf hoofstukke van die tesis. Die belangrikheid van musiekopvoeding vir kinders (die hoekom vraag) word aan die hand van elf verskillende redes en wat deur navorsing ondersteun word, bespreek. Die belangrike rol van die ouer as eerste musiekopvoeder en prenatale stimulasie word in Hoofstuk 2 bespreek (die vraag aangaande wanneer). In die twee daaropvolgende hoofstukke bied die outeur verdere inligting aan ouers oor basiese musiekkonsepte en vaardighede wat kinders op sekere ouderdomme moet kan bemeester. Praktiese aktiwiteite om hierdie konsepte te illustreer en die verlangde vaardighede te oefen (die hoe vraag) word deurgaans voorgestel. Riglyne word gegee oor hoe spel met die kind benader en hanteer moet word, asook riglyne vir die kind se eerste formele instrumentale onderrig, die keuse van ‘n instrument en van ‘n musiekonderwyser. Die navorsing word afgesluit met ‘n praktiese afdeling waarin uitgebreide lyste van liedjies (volgens verskillende kategorieë), beskikbare CD-opnames, DVD-opnames, boeke en webadresse vir ouers gegee word as bronne en as verdere riglyne.
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Mbusi, Nokwanda Princess. "An investigation into the use of traditional Xhosa dance to teach mathematics: a case study in a Grade 7 class." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003499.
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This study seeks to explore mathematical concepts embedded in traditional Xhosa dance and how these concepts can be incorporated into a learning programme for the teaching and learning of mathematics. The study seeks to gain insight into whether learners could benefit from the implementation of such a learning programme. Learners from a Grade 7 class in a rural school performed traditional Xhosa dances and their performances were captured through video recording. The video recordings were then observed and analysed to determine the mathematical concepts embedded in the dances. These concepts were then linked to those found in the Grade 7 mathematics curriculum. A learning programme integrating mathematical concepts from the dance activities with mathematical concepts from the Grade 7 curriculum was then designed. The learning programme contained mathematical problem solving activities that required learners to re-enact the dance performances in order to find the required solutions. The learning programme was then implemented with the learners over a period of three weeks. During the implementation, learners’ behaviour towards the learning experience was observed, their engagement with the problem solving activities as well as their strategies for solving the problems, were carefully observed. Also, their interactions with each other were noted. After the implementation of the learning programme, focus group interviews were held with learners to determine their opinions, attitudes and feelings about their experience of learning mathematics through traditional Xhosa dance. Key findings indicated that traditional Xhosa dance can be used as a medium for learning many concepts in the mathematics curriculum; the use of the dance gave learners an opportunity to learn mathematics from a familiar context and to participate actively and collaboratively in their learning. Also, it emerged that the use of dance to teach mathematics had potential to help improve learners’ attitudes towards mathematics. Conclusions were reached that the dance had potential for use as a means for the meaningful learning of mathematics. However, limitations and challenges with the study were identified, such as its limited replicability in other mathematics classrooms.
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Stirling, Scott. "The neo-diaspora : examining the subcultural codes of hip-hop and contemporary urban trends in the work of Kudzanai Chiurai and Robin Rhode." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002219.
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This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.
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Khosa, Hanyani Aubrey. "A descriptive analysis of indigenous Xitsonga music dance compound: A musicological approach." Thesis, 2018. http://hdl.handle.net/11602/1127.
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PhD (African Studies)Centre for African Studies
It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for others who enjoy indigenous Xitsonga music and dance. There exists, however gaps regarding documentation, preservation and notation of this music and dance practices. In this study, therefore, indigenous Xitsonga music and dance genres are analysed descriptively and documented (with notation of common songs) for posterity. A qualitative approach was used to conduct this musicological study. A study such as this one can also contribute towards African indigenous knowledge systems and be used by the Department of Education.
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Prior, Briony Ruth. "Intercultural music education in South Africa : introducing gumboot dance to the classroom." Thesis, 1996. http://hdl.handle.net/10413/8916.
Full textBooks on the topic "Music and dance – South Africa – Limpopo"
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Dare, Valerie. Music of South Africa: Rhythms of resistance. Vancouver, BC: Britannia World Music Program, 1996.
Find full textBook chapters on the topic "Music and dance – South Africa – Limpopo"
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"Labor Migration: Gumboot Dance." In Focus: Music of South Africa, 149–72. Routledge, 2010. http://dx.doi.org/10.4324/9780203930632-20.
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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.
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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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Emberly, Andrea, and Mudzunga Junniah Davhula. "Dancing Domba." In Transforming Ethnomusicology Volume II, 148–63. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0010.
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The domba school of girls’ initiation is recognizable to many ethnomusicologists from John Blacking’s historic work in Venda communities in South Africa in the 1950s. Blacking’s study illuminated the central role of music in children’s lives in Venda communities. However, at present, domba and the unique songs and stories of Venda childhood are highly endangered, with significant ramifications for contemporary children’s education, cultural practices, and well-being in Venda communities. This chapter explores collaborative research that aims to draw together ethnomusicological methodologies such as audio and video documentation with community-driven efforts to embed the teaching and learning from domba into the school curriculum. Because children have historically been viewed as research objects, rather than participants, this collaborative effort highlights the significance of including children and young people in the research process. By connecting music to a broader cultural context, our research explores the emotional, physical, and socio-cultural transition from childhood to adulthood that is embodied musically in initiation schools and through the transmission of traditional Venda children’s musical arts practices (song, dance, instrumental performance). Our research aims to contribute to knowledge about critical issues, including the connection of well-being to arts education and the sustainability of intangible cultural heritage through unique and collaborative methodologies that prioritize the engagement of children and young people.