Relevant bibliographies by topics / Tsonga (African people) – South Africa – Music / Journal articles
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Journal articles on the topic 'Tsonga (African people) – South Africa – Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

Chekero, Tamuka, and Shannon Morreira. "Mutualism Despite Ostensible Difference: HuShamwari, Kuhanyisana, and Conviviality Between Shona Zimbabweans and Tsonga South Africans in Giyani, South Africa." Africa Spectrum 55, no. 1 (2020): 33–49. http://dx.doi.org/10.1177/0002039720914311.

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This ethnographic study explores forms of mutuality and conviviality between Shona migrants from Zimbabwe and Tsonga-speaking South Africans living in Giyani, South Africa. To analyse these forms of mutuality, we draw on Southern African concepts rather than more conventional development or migration theory. We explore ways in which the Shona concept of hushamwari (translated as “friendship”) and the commensurate xiTsonga category of kuhanyisana (“to help each other to live”) allow for conviviality. Employing the concept of hushamwari enables us to move beyond binaries of kinship versus friend
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2

Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.

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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South Africa
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Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.

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In a recent article by Veit Erlmann in the South African journal of musicology (SAMUS vol. 14, 1995) entitled “Africa Civilized, Africa Uncivilized,” Erlmann draws upon the reception history of the South African Zulu Choir’s visit to London in 1892 and the Ladysmith Black Mambazo presence in Paul Simon’s Graceland project to highlight the epithet “Africa civilized, Africa uncivilized.” Though the term was used by the turn of the century British press to publicize the event, the slogan carries far greater impact upon the locus of the identity of urban black people in South Africa for more than
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4

James, Deborah. "‘Music of origin’: class, social category and the performers and audience of kiba, a South African migrant genre." Africa 67, no. 3 (1997): 454–75. http://dx.doi.org/10.2307/1161184.

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AbstractThis article uses a case study of the kiba migrant performance genre from the Northern Province of South Africa to illuminate recent theoretical ideas on the role of performers and audiences, and in so doing to offer a critical perspective on the way in which the concept of class has been conceptualised in some southern African studies. While the homogenising and Western-derived concept of class may well be unsuitable in some African and other southern contexts, as certain writers have claimed, migrant northern Sotho communities have developed indigenous notions of social category whic
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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 (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 t
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6

Manan, Nuraini A. "Kemajuan dan Kemunduran Peradaban Islam di Eropa (711M-1492M)." Jurnal Adabiya 21, no. 1 (2020): 54. http://dx.doi.org/10.22373/adabiya.v21i1.6454.

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Spain is more commonly known as Andalusia, the Andalusia comes from the word Vandalusia, which means the country of the Vandals, because the southern part of the Peninsula was once ruled by the Vandals before they were defeated by Western Gothia in the fifth century. This area was ruled by Islam after the rulers of The Umayyah seized the peninsula's land from the West Gothies during the time of the Caliph Al-Walid ibn Abdul Malik. Islam entered Spain (Cordoba) in 93 AH (711 AD) through the North African route under the leadership of Tariq bin Ziyad who led the Islamic army to conquer Andalusia
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7

Campbell, Sandy. "The Swazi People by R. Van der Wiel." Deakin Review of Children's Literature 3, no. 3 (2014). http://dx.doi.org/10.20361/g2qp5z.

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Van der Wiel, Renée. The Swazi People. Gallo Manor, South Africa: Awareness Publishing Group, 2012. Print.South Africa describes itself as “one rainbow nation going forward”, but within that rainbow there are eleven indigenous South African peoples. The Swazi People is one of eleven volumes in the African Cultures of South Africa series, which presents the cultures for readers at the upper elementary level. The other volumes include the cultures of The Khoikhoi, The Ndebele, The North Sotho, The San, The South Sotho, The Tsonga-Shangaan, The Tswana, The Venda, The Xhosa, and The Zulu.In The Sw
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8

Mathebula, Mandla D., and Sekgothe Mokgoatšana. "The ‘polyonymous identity’ of the Hlengwe people of Zimbabwe and their struggle for a ‘collective proper name’." HTS Teologiese Studies / Theological Studies 76, no. 4 (2020). http://dx.doi.org/10.4102/hts.v76i4.6192.

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The Hlengwe people of Zimbabwe constitute one of the four sections of the Hlengwe subgroup of the Tsonga – an ethnic group found in four Southern African countries that include Mozambique, South Africa, Zimbabwe and Swaziland. Before the 18th century, these sections constituted a single group that was resident in the Nyaka kingdom, south of Maputo, amongst the Southern Rhonga people. Here, they were known by the names ‘Hlengwe’ and ‘Tsonga/Rhonga’. Before then, they were known by names such as ‘Makomati’ and ‘Tonga/Thonga’. After years of internal and external pressures, the Hlengwe people mig
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9

Dargie, Dave. "The Lumko Music Department and Cultural Heritage." Studia Historiae Ecclesiasticae 43, no. 2 (2017). http://dx.doi.org/10.25159/2412-4265/2707.

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Until the 1960s music in the African language Catholic churches in southern Africa was confined to European (or European style) tunes set to African language texts. The music used suited neither the languages of the people nor their spiritual and emotional needs. Some church leaders, such as Archbishop Hurley of Durban, wished to see a change for the better. Certain missionaries tried to do something about it, in particular Oswald Hirmer and Fritz Lobinger, Bavarian missionaries working in the Xhosa area. The author had done music studies, and in his work in Zwelitsha parish, near King William
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10

Hunt, Pearl. "Losing my Western Baggage: An autobiographical case for relocating human rights within cultural studies discourse." Journal of Contemporary Issues in Education 2, no. 2 (2008). http://dx.doi.org/10.20355/c5tg6v.

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What is it about music that allows people to transcend difference? Can what we learn about music’s abilities inform an enhanced conversation of difference and be applied to the theory of education and critical pedagogy? These questions form the basis of my inquiry into music and social change, an investigation that I have largely focused in North America during the twentieth century. I had the opportunity to further this inquiry and explore the structural roots of music while participating in an adult education conference at the source of Nile in Uganda in the year 2004. 
 
 The foll
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11

Kabongo, Kasebwe T. L. "Christian leadership in a South African township community: A reflection on nepotism and its impact on society." HTS Teologiese Studies / Theological Studies 76, no. 2 (2020). http://dx.doi.org/10.4102/hts.v76i2.5842.

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The author reflects on the reality of nepotism in Christian leadership as he has observed in the township of Soshanguve and many other African poverty-stricken communities he has lived in. The leadership of churches in those areas seems to run in the family. This model tends to have a disempowering effect on the other church members in terms of taking responsibility or initiating projects that could expand the impact of the church beyond the borders of its walls. This article recognises the positive impact of nepotism, but it mostly stresses on the negative impact of nepotism on the democratis
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12

Miller, Andie. "Multiculturalism and Shades of Meaning in the New South Africa." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1963.

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I hate being misunderstood. I guess we all do, but it goes with the territory. I use the word coloured, and he seems offended: 'We Brits don't say 'coloured'. It's regarded as patronising. We say black, if we say anything. And if we do it's for reasons of simple practicality. It doesn't matter. ' Of course, what he seems to be missing, is that the word coloured in South Africa now refers less to skin colour, and more to a distinct cultural group, with it's own language (a dialect of Afrikaans), food (of Malay origin), and music. To say black in this context would be inaccurate, and cause confu
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13

Fouche, Sunelle, and Mari Stevens. "Co-creating Spaces for Resilience to Flourish." Voices: A World Forum for Music Therapy 18, no. 4 (2018). http://dx.doi.org/10.15845/voices.v18i4.2592.

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MusicWorks is a non-profit organisation based in Cape Town, South Africa, and offers psycho-social support through music to young people growing up in marginalised communities. In South Africa three hundred years of colonialism paved the way for Apartheid which left a legacy of waste, nepotism, corruption and the oppression of the majority of our country’s citizens. Its impact is still visible today and the consequences of past and current political, social and economic challenges has led to perpetuated patterns of poverty, gangsterism[1], unemployment, and family violence that are endemic to
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14

Haupt, Adam. "Mix En Meng It Op: Emile YX?'s Alternative Race and Language Politics in South African Hip-Hop." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1202.

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This paper explores South African hip-hop activist Emile YX?'s work to suggest that he presents an alternative take on mainstream US and South African hip-hop. While it is arguable that a great deal of mainstream hip-hop is commercially co-opted, it is clear that a significant amount of US hip-hop (by Angel Haze or Talib Kweli, for example) and hip-hop beyond the US (by Positive Black Soul, Godessa, Black Noise or Prophets of da City, for example) present alternatives to its co-option. Emile YX? pushes for an alternative to mainstream hip-hop's aesthetics and politics. Foregoing what Prophets
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15

Haupt, Adam. "Queering Hip-Hop, Queering the City: Dope Saint Jude’s Transformative Politics." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1125.

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This paper argues that artist Dope Saint Jude is transforming South African hip-hop by queering a genre that has predominantly been male and heteronormative. Specifically, I analyse the opening skit of her music video “Keep in Touch” in order to unpack the ways which she revives Gayle, a gay language that adopted double-coded forms of speech during the apartheid era—a context in which homosexuals were criminalised. The use of Gayle and spaces close to the city centre of Cape Town (such as Salt River and Woodstock) speaks to the city as it was before it was transformed by the decline of industr
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16

Woodward, Kath. "Tuning In: Diasporas at the BBC World Service." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.320.

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Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office
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17

Scantlebury, Alethea. "Black Fellas and Rainbow Fellas: Convergence of Cultures at the Aquarius Arts and Lifestyle Festival, Nimbin, 1973." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.923.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian countercu
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18

Totman, Sally, and Mat Hardy. "The Charismatic Persona of Colonel Qaddafi." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.808.

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Introduction In any list of dictators and antagonists of the West the name of Libya’s Colonel Muammar Qaddafi will always rank highly as one of the most memorable, colourful and mercurial. The roles he played to his fellow Libyans, to regional groupings, to revolutionaries and to the West were complex and nuanced. These various roles developed over time but were all grounded in his self-belief as a messianic revolutionary figure. More importantly, these roles and behaviours that stemmed from them were instrumental in preserving Qaddafi’s rule and thwarting challenges to it. These facets of Qad
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19

Petzke, Ingo. "Alternative Entrances: Phillip Noyce and Sydney’s Counterculture." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.863.

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Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you sim
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