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Mkhari, B. E. "Nkanelo wa nkoka wa swiyila eka vutomi bya vaTsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1689.
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Bila, T. J. "Nkanelo wa matekanelo ya ndhavuko wa vaTsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1445.
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Nukeri, Elminah Reginah. "Nkanelo wa yin'wana ya mindhavuko ya ririmi ra Vatsonga - Machangana hi ku kongomisa eka swakunwa swa ndhavuko." Thesis, University of Limpopo (Turfloop Campus), 2012. http://hdl.handle.net/10386/1135.
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Thesis(M.A.(African Languages)) --University of Limpopo, 2012Ndzi ba mandla ndzi vuyelela eka wena Dokodela N.E. Nxumalo, muleteriwa mina eka dyondzo leyi. A wu ndzi helelanga mbilu hambiloko swi pfa swi gonya swiganga.A wu ndzi tiyisa nhlana hi masiku hinkwawo.Ndzi ri khanimambo Ndwandwe! Ndzi khensa Xikwembu Tatana wa hina loyi a nga yena a ndzi tumbuluxeke, a tlhela a ndzi nyika vutomi ni vutlhari byo humelerisa xitsalwana lexi hi mfanelo. Ndzi ngava ndzi endla xihoxo loko ndzo rivala wena nkatanga, Cakes Colbert Nukeri ku va u ndzi seketerile no ndzi komba rirhandzu eka ntirho lowu. Hambi leswi a ndzi pfa ndzi ku siya na vana, a wu ndzi helelanga mbilu. Vavanuna vo fana na wena va hlayiwa hi tintiho eka leyi misava. Xikwembu a xi ku katekise Gunela.Eka vana va mina Vialli, Sakhile naTalita, ndzi khensa nseketelo lowu mi ndzi kombeke wona. A mi pfa mi pfumala rirhandzu ra manana loko ndza ha yile ku ya handza vutivi.Ndza khensa vana va mina ku tiyisela ka n’wina. Eka vatswari va mina Tatana Samson na nghamu Selina N’wa-Malesa Ngoveni, ndzi pfumala marito yo khensa eka rirhandzu leri mi ndzi kombeke rona. Vamakwerhu Xitlhangoma, N’wa-Khada, Calvin, Charles na Mcgyver, ndzi khensa nseketelo wa n’wina vana va mhani. Na n’wina kokwana Midjadji, kokwana N’wa-Mongwe, kokwana N’wa-Hlabathi,kokwana N’wa-Juliyazi,Mhani Mphephu, Hahani N`wa Xitlhangoma na kokwani N`wa-Jakobo,ndzi ba mandla ndzi vuyelela. A mi nga karhalin loko ndzi tshama ndzi ri karhi ndzi mi vutisela swivutiso. Hosi a yi mi endle hi tintswalo. A ndzi mi rivalangi na n’wina mhaninkulu N’wa-July Mabunda na Sesi Ednah Mhinga. Mi ndzi khatsisile ndzima leyi. Ndzi ri kudya hi ku engeta. Ndzi hetelela hi ku khensa makwerhu Florence Motupa na Mixo Nkuna lava va nga vathayipi
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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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Mpola, Mavis Noluthando. "An analysis of oral literary music texts in isiXhosa." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.
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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).
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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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Lewis, Mary Christine. "A cultural biography of Mantombi Matotiyana and Maxanjana Mangaliso : two contemporary African musicians." Thesis, Stellenbosch : University of Stellenbosch, 2001. http://hdl.handle.net/10019.1/52073.
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Thesis (MMus) -- University of Stellenbosch, 2001.ENGLISH ABSTRACT: This study aims to present a cultural monograph of two contemporary South African musicians, Mantombi Matotiyana and Maxanjana Mangaliso. Both musicians are highly regarded and respected for their exceptional musical abilities within their community and society, as well as abroad. This study furthermore wishes to make a contribution towards the establishment of 'experience-based' ethnomusicological field research in South Africa. In keeping with these aims, the material, which has been assembled from personal interviews with Matotiyana and Mangaliso, is in narrative. It is based on their personal memories, recollections and perspectives, as well as their views about and attitudes towards their songs, all aspects of composition, instruments and performance. The study therefore looks at the interaction between the lives and the songs of Matotiyana and Mangaliso and relates it to their relevant experiences. The musicological study of Matotiyana's songs further illuminates her particular style, as well as her contribution to contemporary Xhosa bow songs in general, especially within the broader context of Xhosa musical traditions.
AFRIKAANSE OPSOMMING: Hierdie studie poog om 'n kulturele monografie van die twee kontemporêre Suid- Afrikaanse musici Mantombi Matotiyana en Maxanjana Mangaliso voor te lê. Beide kunstenaars word as gevolg van hul buitengewone musikale bekwaamhede besonder hoog aangeskryf en gerespekteer, sowel binne hul eie breë gemeenskap asook in die buiteland. Terselfdertyd poog hierdie studie om 'n bydrae te maak tot die vestiging van die sg. "experience-based" tipe etnomusikologiese veldwerk in Suid-Afrika. Dienooreenkomstig word die inligting wat deur middel van persoonlike onderhoude met Matotiyana en Mangaliso versamel is, in verhaalvorm aangebied. Dit is gebaseer op hul eie herinneringe en perspektiewe, asook hulopvattings t.o.v. hul liedere, alle aspekte van hul komposisie, hul instrumente en opvoerings. Die studie kyk gevolglik na die wisselwerking tussen die twee musici se lewens en hul musiek en bring hul eie ervarings in hierdie verband ter sprake. Verder verskaf die analitiese studie m.b.t. die liedere van Matotiyana insig in haar unieke styl en bydrae tot eietydse Xhosa boogmusiek, veral binne die breër konteks en tradisies van Xhosa musiek in die algemeen.
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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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Mdaka, Tintswalo Sophie. "A comparative analysis of Western and African traditional churches among Vatsonga : a sociolinguistic study." Thesis, University of Limpopo (Turfloop Campus), 2013. http://hdl.handle.net/10386/1126.
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Magomani, Hlekulani Violet. "Nxopaxopo wa tinsimu ta vanhwanyana va xikhale va Vatsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1795.
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Thesis (M .A. (African Languages)) -- University of Limpopo, 2014This research “Nxopaxopo wa tinsimu ta vanhwanyana va xikhale va Vatsonga wu kongomisa eka manghenelo, xitatimendhe xa xipiqo, xikongomelo, nkoka wa maendlelo ni tinhlamuselo ta matheme lama nga tirhisiwa” deals with path which was paved by young girls of the older generations before married. In our discussion in this research I will touch some few things about their songs like the teaching of the nation, good behaviour for themselves even as adults and culture in totality etc. The other thing is language which the girls used when performing their songs. This research consists of six chapters. Chapter 1: It outlines the research proposal as follows. The introduction, statement of problem, aim of the study, the significance of the research, definition of terms, methods used and literature review. Chapter 2: This chapter explains the upbringing of young girls of the olden generation. Secondly, it outlines the stages that they undergo and the relationship between these stages. Furthermore it brings forth norms and values to be followed when these girls get married. Chapter 3: The chapter deals with the analysis of the chosen songs by young girls of the olden generations. Emphasis is based on the sense of the poem and the usage of figurative language. Chapter 4: Firstly it deals with the meaning of the word “theme”. It also outlines the theme of young girls of olden generations as per their varying categories, involves life in general, like unfaithfulness to their brother in law, love one another, for the love of culture etc. Chapter 5: Deals with the findings which this research discovered about the songs of the young girls of the olden generations. It also deals with the suggestion and recommendations. Chapter 6: It provides a list of various references used in this research
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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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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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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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Reeve, Zoë Rose Louise Patricia. "Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002378.
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This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms.This thesis consists of three parts (1 pdf document and two video mp4 files)
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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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Khosa, Hanyani Aubrey. "An investigation into Ku Thawuza music and dance as an indigenous art form." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001487.
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M. Tech. DanceKnowledge of cultural dances and songs is one of the key aspects necessary for a comprehensive understanding of the customs of any cultural group. This includes indigenous cultural practice of a particular cultural group, which in themselves have a plethora of different performance practices and categories that are extensive and unique in their own right. The indigenous music and dance of Vatsonga is no exception. It is against this background that this study was undertaken. This study seeks to collect, document, promote and preserve the Xitsonga indigenous art form, namely, Ku Thawuza music and dance, by means of transcribing and investigating it.
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Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.
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Text in EnglishThis case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.
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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.
NRF
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Mabasa, S. M. "Nkanelo wa nxopaxopo wa mavito yo khovolela eka Xitsonga." Thesis, 2013. http://hdl.handle.net/10386/2298.
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Mashamba, Vongani Joyce. "Guidelines for family therapy with Tsonga families." Thesis, 2012. http://hdl.handle.net/10210/6418.
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M.A.Family therapy is based on First World therapeutic methods and has been used effectively by therapists in that context. Literature (Mason & Rubenstein, 1989:39; Horton & Hunt, 1984:15) reveals that family therapy can also work well in the Third World "if it is not for the blacks but also of the blacks". Innovations are most readily accepted when they fit within the existing culture. These statements suggest that family therapy needs to be practised within the context of a particular culture. The purpose of this study is to establish and present guidelines for the implementation of family therapy in social work in Tsonga families. The study was conducted among social workers in the employment of welfare agencies that have been using family therapy with Tsonga people for three years or more in the Lowveld and Northern regions of the Northern Province. Twelve social workers were selected but only eight participated in the study. Semi-structured interview was used to gather data for the research. The research finding reveals that cultural consideration is essential when working with Tsonga people because they are still adherent to cultural practices. The findings provided a basis through which guidelines for use by social workers in family therapy with Tsonga people were established. The study presents the guidelines as recommendations to be considered when practising family therapy within Tsonga culture.
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Khoza, Q. R. "Mapaluxelo ya maphahlele ya ndhavuko wa Xitsonga eka Xona Hi Xihi hi D.R Maluleke." Thesis, 2013. http://hdl.handle.net/10386/2274.
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Gluckman, M. M. "The realm of the supernatural among the South-Eastern Bantu: a study of the practical working of religions and magic." Thesis, 2015. http://hdl.handle.net/10539/16882.
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Ngobeni, A. T. "Ririmi leri tirhisiwaka eku phahleni ku katsa ni tinxaka to hambana hambana ta mphahlo wa Vatsonga." Thesis, 2012. http://hdl.handle.net/10386/2270.
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Baloyi, Rhandi May. "An investigation into the pedagogically accountable implementation of authority in Tsonga secondary schools." Diss., 1992. http://hdl.handle.net/10500/18054.
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No doubt can exist that discipline and authority in Black schools, including Tsonga secondary schools, is at present undergoing a very difficult period. One crisis follows another and there are constant threats of boycotts and violence, threats which only too often become reality. This dissertation is an attempt at revealing the possible causes for this problem, by means of a phenomenological investigation into those essentials which are preconditions for the implementation of pedagogically accountable authority. The concept of authority, with special reference to Tsonga traditions and the place and role of members of the tribe and family, in enforcing authority, are examined. Guidance, assistance, acceptance, and the essential components of the relationship structure are given attention. As the dissertation is concerned with the school situation, the teacher's person, personality and
his training also received attention. Recommendations for further study and possible ways to alleviate the
situation, are suggested.Educational Studies
M. Ed. (Fundamental Pedagogics)
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Baloyi, Lynette Fanisa. "Cultural practices and beliefs affecting HIV and AIDS management among Tsonga people in Bushbuckridge." Thesis, 2019. http://hdl.handle.net/10500/27173.
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This ethnographic study explored and described practices and beliefs that may have an impact on the management of HIV and AIDS among Tsonga people in Bushbuckridge. Data was collected through face to face in-depth individual interviews with 19 key informants who are highly knowledgeable about the Tsonga culture. The researcher used ethnographic content analysis to analyse data. Findings indicated that language, rituals, beliefs related to the origin of diseases, traditional healers, and tattoos are among Tsonga cultural practices and beliefs that have an impact on management of HIV and AIDS. Some of the practices increase the risk of HIV infection while some assist in the reduction of the risk of HIV infection. Based on the findings of the study and literature, the researcher managed to develop a contextual, cultural approach model for HIV and AIDS management for Tsonga people in Bushbuckridge. The model development was guided by Leininger theory of culture, care, diversity, and universality. To organise the model, the researcher used CIPO model to guide the elements of the cultural approach model. Though the model takes into consideration global and national context, the main focus was the local context in particular Bushbuckridge. The success of this model is dependent on the availability of knowledgeable healthcare practitioners, relevant resources and engaged community structure. The process of the model includes Cultural Care Preservation, Cultural care Accommodation, and Cultural care Re-patterning. The expected output of the model is modification of HIV risky cultural practices, improved health-seeking behaviour, reduction of new HIV infections and reduction of HIV and AIDS-related deaths. Based on the study outcomes, the researcher makes several recommendations in relation to implementation of the model, Nursing Practice and Education, and further research. The study has contributed to the body of knowledge in relation to cultural practices and management of HIV and AIDS. The model can be utilised to enhance nursing education and practice and further research.Health Studies
Ph. D. (Health Studies)
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Baloyi, Busisiwe Helen. "The attitude of the Tsonga community towards the cerebral palsied and the orthopaedically handicapped child." Thesis, 2014. http://hdl.handle.net/10210/9174.
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M.Ed.Chapter One constitutes the heart of this study which entails the statement of the problem, prevailing attitudes and beliefs in the Tsonga community, attitudes and feelings of parents whose children are handicapped. This chapter also gives the aim, delimitation, method and plan of the study. Chapter Two elucidates what cerebral palsy and orthopaedic handicap are. It is a thought provoking and interesting chapter since it gives definitions, occurrence and causes of cerebral palsy and orthopaedic handicaps. Types of cerebral palsy such as spasticity, athetosis, rigidity, tremor and mixed type are clearly indicated. This also applies to orthopaedic handicap, where handicapism like poliomyelitis, dwarfism, tuberculosis of the spine, amputation of a limb or limbs, spina bifida, muscular dystrophy, scoliosis, osteogenesis, rachitis, kwashiorkor and congenital deformities are discussed in detail. Cerebral palsy and orthopaedic handicap occur during four different stages, i. e. pre-natal, para-natal,neo-natal and post-natal stages . Chapter Three gives the traditional attitudes of the Tsonga communi ty towards cerebral palsied and orthopaedically handicapped children. The chapter first elucidates terms which also constitute the heart of this dissertation. It highlights the treatment of handicapped children by the ancient Greeks, Romans, Hebrews, and also the Sothos, Zulus and Tsongas...
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Lebaka, M. E. K. (Morakeng Edward Kenneth). "The ritual use of music in indigenous African religion : a Pedi perspective." Diss., 2001. http://hdl.handle.net/2263/22869.
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Titoce, Isaias Paulo. "Understanding Tsonga tradicional [i.e. traditional] medicine in the light of Jesus' healings." Thesis, 2002. http://hdl.handle.net/10413/3275.
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Religion and culture always go together. From the very first day a new person is brought out into this world, s/he starts learning how to live with her or his people, and starts learning their beliefs and values. The person grows up with this knowledge, and it forms a part of his/her life. These beliefs and values are unquestionable from the perspective of that person. They are accepted as natural and normative. If s/he, for example, is brought up in a culture in which kneeling is a form of showing respect, s/he will internalise this, and will always kneel when the act of showing respect is required. For another person who is brought lip in a different culture where standing lip, for example, is regarded as the way of showing respect, kneeling or sitting before a respected individual or occasion can be regarded by a such person as an impoliteness. As we can see, cultural values are subjective, and they are appropriate for the people of a specific culture in which they were fashioned and accepted as normative. What often happens is that when two different cultures meet there is a collision between them, and what often happens is that the one which is supported by power smashes the other and imposes its normative rules on it. When Christianity came to Africa, it was full charged by European way of viewing the world, and in its worldview, anything which was not within the European cultural nornlative frame, was something to get rid of Consciously or unconsciously, Christianity was used as a powerful tool for the West's cultural domination over Africans. The Church demonised African culture, and regarded it as a prototype of anti-Christianity. To become Christians, Africans were required to forsake their life style and assimilate the Western style of living. Things such as drums, xylophones, which were part of African culture, were associated with the demons and thus banned from the lives of the "faithful" African Christians. The memorial ceremonies, which were held for our ancestors, were understood as being a form of idolatry, whereas the church's memory of the saints was regarded as something very Christian. And, if the African culture and practices were abominable for the Western Christian missionaries, its traditional health care system was seen as the ultimate manifestation of the evil. [t is with the desire of reclaiming the legitimacy of African traditional health care system for Africans that 1 set out to examine healing from a cross-cultural perspective, and above all healing in the Bible, and specially Jesus' healings in order to see what is abominable with African traditional medicine.Thesis (M.Th.)-University of Natal, Pietermaritzburg, 2002.
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Swarts, Karen. "'n Studie van die huidige musikale gebruike onder die jeug van die !Xun en Kwe San." Thesis, 2012. http://hdl.handle.net/10019.1/20861.
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Thesis (M. Mus.)--University of Stellenbosch, 2008.ENGLISH ABSTRACT: This study was undertaken to determine the present state of the musical practices of the youth of the !Xun and Khwe San. The study formed part of the NRF project, Mother’s Milk Mother’s Muse, of which the objective was to document and preserve the music of South Africa’s indigenous cultures. This was done by recording the music of children during a series of mini-festivals. A further aim was to develop a renewed interest in their own traditional musical culture. The writer was chosen in 2003 as the project coordinator of the San people of Platfontein in Kimberley. That project has thus formed the basis of the present study of the current musical practices of the youth of the !Xun and Khwe San. Research was done through literature study and participatory action research. General information on these research methodologies is given in the second and third chapters. The ways in which these methodologies were put into practice in the writer’s own study are discussed in the last chapter. Teachers of the !Xunkhwesa school on Platfontein were asked to give their help with the project. These teachers, who teach the Arts and Culture learning area to various grades at the school, were responsible for completing forms with information on musical items. The children were then asked to bring traditional songs to class in the period before the mini-festival. These items were recorded during the mini-festival in September 2005. Descriptions and analyses of the songs are given in chapter five. Similarities with the characteristics of traditional San music as well as general characteristics of African music are also discussed. The conclusions and proposals are discussed in the last chapter.
AFRIKAANSE OPSOMMING: Hierdie studie is onderneem om die huidige musikale gebruike onder die jeug van die !Xun en Khwe San in Suid-Afrika te bestudeer. Dit het deel gevorm van die NNS projek, Mother’s Milk Mother’s Muse, wat die musiek van inheemse kulture wou bewaar. Dit is gedoen deur die musiek van die kinders op te neem tydens mini-feeste. Hierdeur is probeer om ‘n hernude belangstelling in die tradisionele musiekkultuur by die jeug te kweek. Die skrywer is in 2003 as projekkoördineerder vir die San by Platfontein, Kimberley aangestel binne die raamwerk van die Mother’s Milk Mother’s Muse projek. Dié projek het derhalwe die basis gevorm vir hierdie studie van die huidige stand van die musikale gebruike onder die jeug van die !Xun en Khwe San. Navorsing het by wyse van ‘n literatuurstudie en deelnemende aksienavorsing geskied. Algemene inligting van hierdie navorsingsmetodes word in die tweede en derde hoofstukke weergegee. Die wyses waarop die skrywer die navorsingsmetodes in haar eie studie toegepas het, word in die laaste hoofstuk bespreek. Onderwysers van die !Xunkhwesa skool op Platfontein is genader om hul hulp te verleen met die projek. Die onderwysers, wat elkeen die Kuns en Kultuurleerarea aan verskillende grade aanbied, moes vooraf sorg dat inligting van verskillende musiekitems op vorms ingevul moes word. In die tyd voor die mini-fees is die kinders dus uitgestuur om tradisionele liedere te gaan versamel en inligting daarvan in die klas te deel. Hierdie items is tydens ‘n fees in September 2005 opgeneem. Beskrywings en analises van die liedere word in hoofstuk drie weergegee. Ooreenkomste met die kenmerke van tradisionele San musiek asook met algemene kenmerke in Afrikamusiek word ook bespreek. Die gevolgtrekkings en voorstelle word in die laaste hoofstuk bespreek.
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Manyike, Tintswalo Vivian. "The acquisition of English academic language proficiency among grade 7 learners in South African schools." Thesis, 2007. http://hdl.handle.net/10500/2180.
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Language proficiency in the language of learning and teaching (LOLT) is essential for academic success. In South Africa and elsewhere, many secondary school learners lack the required academic proficiency in English, the language of learning and teaching. The English language proficiency of Xitsonga speaking Grade 7 learners was evaluated in order to suggest ways in which these learners could be helped to maximise academic success. The author investigated theories of first and second language acquisition by means of a literature study and presented an overview of language policy in South African schooling before and after 1994.
A sample of Grade 7 Xitsonga speaking learners was selected from three secondary schools in the Tshwane metropolitan area, Gauteng Province. Language proficiency levels were determined by means of the Human Sciences Research Council's Standardised English Reading and Writing Proficiency Tests. These tests were also translated into Xitsonga and administered to the learners. The tests were administered a month apart in each of the schools.
The tests revealed that:
* there is a significant correlation between the learner's performance in the reading and writing performance test for both languages
* the learners' reading and oral skills in both languages correlate
* irrespective of the level of language proficiency, most learners performed poorly in their reading skills, such as, recognising inferences related to tone, punctuation, different types of discourse as well as the prevailing atmosphere.
The greatest weaknesses were in learners':
* failure to understand instructions, which meant that their responses to task demands were inadequate
* inappropriate use of tone register and spelling errors
* incorrect use of punctuation and verb tenses.
The analysis of the learner's performance in both English and Xitsonga showed that these learners were generally not capable of handling the requirements of the Grade 7 curriculum. It was recommended that the learners be guided to make optimal use of existing facilities, such as, libraries. This could enhance the learners' language development. Using learners' L1 as a medium of instruction for cognitively demanding texts and intensive in-service and pre-service training for language teachers are also recommended.Educational Foundations
D.Ed. (Comparative Education)
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Baloyi, Nkhensani Molina. "Nxopaxopo wa switandzhaku swa " globalisation" eka ririmi ra Xitsonga." Diss., 2018. http://hdl.handle.net/11602/1357.
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MA (Xitsonga)Ehansi Ka Senthara ya M. E. R. Mathivha ya Tindzimi ta Afrika, Vutshila na Ndhavuko
Eka ndzavisiso lowu hi kanela hi switandzhaku swa globalization eka ririmi ra Vatsonga. Ku tlhela ku langutisiwa swivangelo leswi sivelaka ku hluvuka ka ririmi, hikokwalaho ka globalization. Ku langutisiwa swivangelo swa ku lahleka ka ndhavuko wa Vatsonga na tindlela leti nga tirhisiwaka ku kucetela Vatsonga leswaku va nga tshiki ndhavuko wa vona wu nyamalala. Ndzavisiso wu kongomisiwa eka maambalelo ni mahanyelo ma vantshwa, swakudya, matshungulelo, tidyondzo, matirhiselo ma nawu wa le hubyeni na matshamelo ma ndyangu. Hi tlhela hi valanga tindlela leti nga tirhisiwaka ku tlakusa ririmi ra Xitsonga leswaku ri nga ha tekeriwi ehansi. Eka ndzavisiso lowu hi tirhisa maendlelo ma nxopaxopo wa vundzeni bya hungu kumbe ku kuma vuxokoxoko bya ndzavisiso, leswi vuriwaka “qualitative research”. Ku tlhela ku tirhisiwa maendlelo mo hlengeleta mahungu (data collection) ku suka eka matsalwa mo fana na tiatikili, maphephahungu, xiyanimoya, tijenali na thelevhixini. Hi tlhela hi tirhisa maendlelo ma nhlokohliso wa swivutiso. Ku hlawuriwile vahlokosiwa va ntlhanu ku suka eka muganga wa ka Shihambanyisi lava nga ni vutivi hi tlhelo ra nhlokomhaka leyi ku endliwaka vulavisisi hi yona. Ku tirhisiwa thiyori ya mfuwo, thiyori ya matimu na thiyori ya nxopaxopo wa mbulavulo.
NRF
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Mkhombo, S. M. (Sibongile Margaret). "The status of indigenous music in the South African school curriculum with special reference to isiZulu." Thesis, 2019. http://hdl.handle.net/10500/25896.
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Text in EnglishThe research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase.
Linguistics and Modern Languages
D. Phil. (Languages, Linguistics and Literature)
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James, Deborah. "Mmino wa setso: songs of town and country and the experience of migrancy by men and women from the northern Transvaal." Thesis, 1993. https://hdl.handle.net/10539/25417.
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A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in
fulfilment of the requirements for the Degree of Doctor of Philosophy.The thesis attempts to illuminate the process through which identitities, apparently strongly "ethnic", are constructed by migrant women, and to examine how these differ from the equivalent identities constructed by men. The focus is upon northern Transvaal migrancy, and special emphasis is given to the central role played by musical performance - particularly that of the style called kiba - in constituting migrant associations. Men and women form separate dance associations: the thesis is concerned particularly with migrant women, and sets the dance groups in the broader setting of female migrancy in southern Africa. This is a phenomenon which has been neglected in the literature. The thesis criticises the adaptive emphasis of earlier Writings on migrant association, and the lack of "local knowledge" in Marxist accounts, Performers of the genre emphasise that the music is "traditional",and their lyrics legitimate the present experiences of contemporary composers by juxtaposing them with the past experiences of older ones. They view the roles they play in relation to their family members both living dependents and deceased forebears - in terms of stereotypes laid down by Sotho custom. But these independent migrant female performers of the genre, in contrast to their rurally-domiciled and. dependent counterparts, are women whose disrupted and geographically mobile upbringing has led them to seek out modernity and progress rather than an adherence to the ways of "traditionalists". They are primary breadwinners for their natal families. Custom and tradition provide an idiom in terms of which, while retaining affiliations to men's kiba sufficient to ensure their continued access to a performance space and an audience, they enunciate an identity as relatively autonomous and emancipated migrants in an urban context.
Andrew Chakane 2018
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Mokgetle, Morokolo. "Mmino wa Bana: An African musicological study of Moletjie community musical practices." Thesis, 2018. http://hdl.handle.net/11602/1257.
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PhD (African Studies)Department of African Studies
Mmino wa bana (Children’s songs) are subjected to many changes today; so much so that in time it could cease to exist in its original form or be replaced by genres promoted on televisions. This study focuses on the genre as practised in the Moletjie community. The study explores mmino wa bana by examining its musicological elements, educational validity, and the general social functions within the context of the Moletjie community. By providing insight into these aspects, we could be able to ascertain the transportability of musical elements and philosophies across many contexts. Twenty-one children’s songs were collected for the study. In addition, interviews were conducted with elders and members of the Moletjie royal family to capture the narrative views of the genre. Additional information was also captured in the form of diary notes. The study used an Afrocentric approach as its theoretical framework. The design was qualitative with semi structured interviews functioning as the mode of data collection. For analysis, music programs were used. The body of knowledge emanating from the study is packaged in such a way that it could be used by scholars in African musicology, policy planners, and others interested in the culture of the people of Moletjie community. The school will also find the study to be a useful resource in crafting textbooks for classroom purposes.
NRF
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Raditladi, Lobone Arthur. "The perceived psychosocial contributions of choral singing in a Setswana-speaking community." Diss., 2017. http://hdl.handle.net/10500/23756.
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Choral music has played an important role in the liberation of South African people, and it is still very popular today, including among Setswana-speaking choral groups. This study looks at the role of music, particularly choral music, in the expression of Setswana-speakers’ identity as well as the psychological effects on the psychosocial well-being of the choristers. A qualitative research approach, supported by in-depth interviews, was adopted in this study to better understand the singing experiences of two male choir conductors and two female choristers. For this purpose, thematic analysis technique was employed. The results indicate that singing in the choir contributes to the choristers’ physical, emotional, mental, social, and spiritual well-being as well as to their identity formation. Participants also highlighted challenges such as time constraints, poor leadership, socio-economic conditions, unforeseen circumstances,
discrimination against younger members, love affairs, and gossip within the choral groups. The results indicate a positive and socially engaging contribution of choral music in the expression of identity as well as in the sense of belonging and connection of choristers. The findings are in line with the literature and indicate that participation in a choir enhances and strengthens
psychosocial well-being, that is self-discipline, healthy lifestyle, self-confidence, self-esteem, motivation, physical fitness, emotional expressivity, emotional processing and stress relief, social responsibility, moral growth and development, mental alertness and focus, upliftment and inspiration, connection with God, and nurtures the community social fabric.Psychology
M.A. (Clinical Psychology)
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Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.
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Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works.
My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana.
Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity.
The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).Art history, Visual Ars and Musicology
D. Mus
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Ntombela, Sipho Albert. "Amasu asetshenziswa ngomasikandi besizulu emculweni wabo." Thesis, 2011. http://hdl.handle.net/10500/10622.
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This research on the subject is one of a few written in the medium of isiZulu. Further, it is one of the few conducted on masikandi music in this depth. It identifies and analyzes strategies used by Zulu masikandis in their music.
The researcher in this study demonstrated that Zulu masikandis comprise males and females and that at present male masikandis are dominating this genre. Besides that, the study also revealed two categories of Zulu masikandis: those who recorded their music and those who could not. The researcher demonstrated also that Zulu masikandis use different effective strategies for different purposes in their music. He demonstrated that Zulu masikandis use different strategies to introduce themselves to their followers and their counterparts, to brag about certain members of their groups, to coin and use nicknames, to reveal their themes, to reveal their emotions, to use various types of imagery and to use strategies which are the results of influences of factors like Christianity, riddles, folktales and praise-poems.
Some of the challenges are that other masikandis find it very difficult to record their music owing to financial problems, other producers are corrupt, as masikandis are influential figures in public there is a danger that they can mislead the public by coining and spreading unstandardized Zulu expressions through their songs.
Finally, it must be pointed out that the study of masikandi music, particularly strategies used by Zulu masikandis, makes a great contribution to the study of literature. The reason is that it introduces a new path, the different strategies used by Zulu masikandis in their music, categories of Zulu masikandis, nicknames for Zulu masikandis which are coined by themselves and sometimes
by members of the public and different methods of collecting data to be used by other researchers. Therefore, it is worthy of publication.African Languages
D. Litt. et Phil. (African Languages)
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Joubert-Wallis, Marie. "The contribution of culture to the spread of HIV." Diss., 2008. http://hdl.handle.net/10500/647.
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Cultural factors have been shown to play a role in human decision making and behaviour. The main objective for this research was to identify and evaluate the possible influence of Shangaan cultural beliefs, myths and behaviours, on the spread of HIV within the Mnisi tribe. A qualitative method of investigation was followed; interviews with three participants and observations of the Mnisi culture were used in the construction of the investigation and findings. Through the information obtained two cultures influencing the spread of HIV in the Mnisi tribe were identified, they are (1) The culture of power-rule and fear, and (2) The culture of poverty.Psychology
M.Sc. (Psychology)
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Mashianoke, Thapedi Shadrack. "Tshianzwane music : the relationship between physical structure and abstractions in cultural progress and change." Diss., 2013. http://hdl.handle.net/10500/13047.
Full textAbstract:
Text in EnglishAccompanied DVD with printed record
In this dissertation, I explore music styles from Tshianzwane village in HaMakuya, in the Limpopo Province of South Africa, particularly malende, tshigombela, and children‘s songs. I consider the music styles as embedded in their extra-musical physical structure and abstractions; social rituals; frame of reference; forms of habitus; social order; cultural capital; social meanings, behaviour, power hierarchy, status, space, agency, institutions; formal-informal education and means; symbols; musical instruments; dance; religion; ancestor worship; traditional health practice; norms and values; mentorship and rites of passage. I further explore how and why music performers and other cultural patterns at Tshianzwane interpenetrate with each other and their living space through social roles; demonstration-imitation learning method; enculturation; dialectics of normative-interpretive, embodiment-hexis or cues, internalizationexternalization, surface-deep structure, conscious-unconscious level, qualitativequantitative understanding of music styles and genres and local-foreign context; means of communication; reinterpretation and redefinition of concepts. In conclusion, I consider how people and cultural patterns at Tshianzwane, through interpenetration, form progressing and changing social web; social connections; attachments; trance; state of flux in cultural patterns; synthesis of cultural patterns; embedded contexts; shared culture and resultant cultural patterns. Since cultural patterns, as a result of interpenetration, reflect each other, I point out the challenges in socio-spatial mapping of forms of habitus and cultural patterns. In my dissertation, I use John Blacking‘s work as my primary theoretical framework. Furthermore, I use Pierre Bourdieu‘s theoretical framework, and Hugh Tracey‘s and David Dargie‘s audio CDs on African tribal music to enrich my theoretical ground. I collected my field data at Tshianzwane in collaboration with Joseph Morake and Ignatia Madalane (students), Dr Susan Harrop-Allin (supervisor), Samson Netshifhefhe, Obert Ramashia, Paul Munyai and Musiwalo (informants).
M. Mus.
Art History, Visual Arts & Musicology
41
Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.
Full textAbstract:
In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.