Relevant bibliographies by topics / Zulu (African people) – Music – History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Zulu (African people) – Music – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Zulu (African people) – Music – History and criticism"

1

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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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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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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Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li
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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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Jones, Steve. "Seeing Sound, Hearing Image." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1763.

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“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies Popular music is firmly rooted within realist practice, or what has been called the "culture of authenticity" associated with modernism. As Lawrence Grossberg notes, the accelleration of the rate of change in modern life caused, in post-war youth culture, an identity crisis or "lived contradiction" that gave rock (particularly) and popular music (generally) a peculiar position in regard to notio
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Haller, Beth. "Switched at Birth: A Game Changer for All Audiences." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1266.

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The American Broadcasting Company (ABC) Family Network show Switched at Birth tells two stories—one which follows the unique plot of the show, and one about the new openness of television executives toward integrating more people with a variety of visible and invisible physical embodiments, such as hearing loss, into television content. It first aired in 2011 and in 2017 aired its fifth and final season.The show focuses on two teen girls in Kansas City who find out they were switched due to a hospital error on the day of their birth and who grew up with parents who were not biologically relate
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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growi
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Rutherford, Amanda, and Sarah Baker. "The Disney ‘Princess Bubble’ as a Cultural Influencer." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2742.

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The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the main
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Dissertations / Theses on the topic "Zulu (African people) – Music – History and criticism"

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Xulu, Musa Khulekani. "The re-emergence of Amahubo song styles and ideas in some modern Zulu musical styles." Thesis, 1992. http://hdl.handle.net/10413/9503.

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Amahubo songs are at the centre of the traditional Zulu cultural, religious and political lives. Their age is often associated with the very "beginning" of things, when the very first Zulu people emerged from the bed of reeds. As musical items amahubo tend to be easily associated with the old, pre-colonial era when Zulus were in charge of their lives and their destinies. The performance contexts of amahubo songs are the wedding, the funeral of a King, Chief, induna, umnurnzane, war and other commemorative ceremonies. Amahubo are also called ceremonial music because of their association with th
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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 strategi
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Manqele, Zandile Heavygirl. "Zulu marriage values and attitudes revealed in song : an oral-style analysis of Umakoti Ungowethu as performed in the Mnambithi region at KwaHlathi." Thesis, 2000. http://hdl.handle.net/10413/5670.

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Treffry-Goatley, Astrid. "Transmitting historical practices to present reality : a biography and anthology of Brother Clement Sithole's music and work with Inyoni Kayiphumuli Children's Home." Thesis, 2005. http://hdl.handle.net/10413/5114.

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This thesis is a detailed biographical review of Brother Clement Sithole's life (1). This thesis traces Brother Clement's musical development, his acquisition of indigenous musical knowledge, and his application of this knowledge to his present experience. The purpose behind my enquiry is to further understand the relationship between historical musical practices and the present world experienced by the individual. What is the impact of past indigenous musical performance on the performer? Is indigenous musical performance an effective way for displaced people to alleviate alienation and disj
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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.

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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
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Canonici, Noverino Noemio. "Tricksters and trickery in Zulu folktales." Thesis, 1995. http://hdl.handle.net/10413/6350.

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Tricksters and Trickery in Zulu Folktales is a research on one of the central themes in African, and particularly Nguni/Zulu folklore, in which the trickster figure plays a pivotal role. The Zulu form part of the Nguni group of the Kintu speaking populations in sub-Saharan Africa. Their oral traditions are based on those of the whole sub-continent, but also constitute significant innovations due to the Nguni's contacts with the Khoisan peoples and to the history that has shaped their reasoning processes. Folktales are an artistic reflection of the people's culture, history, way of life, attitu
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Canonici, Noverino Noemio. "C.L.S. Nyembezi's use of traditional Zulu folktales in his Igoda series of school readers." Thesis, 1985. http://hdl.handle.net/10413/6253.

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Magwaza, Thenjiwe S. C. "Orality and its cultural expression in some Zulu traditional ceremonies." Thesis, 1993. http://hdl.handle.net/10413/6172.

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Buthelezi, Mbongiseni. "Kof' abantu, kosal' izibongo? : contested histories of Shaka, Phungashe and Zwide in izibongo and izithakazelo." Thesis, 2004. http://hdl.handle.net/10413/4214.

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In this dissertation, I argue that there is a pressing need in post-apartheid KwaZulu-Natal to re-assess the eighteenth- and nineteenth-century histories of the region from the perspectives of people whose ancestry was dispossessed and/or displaced in the wars that took place in that period, particularly those that elevated Shaka to dominance. I suggest that because of their retrospective manipulation by the vested interests of power politics, historical processes over the past two centuries, and in the last century in particular, have invested the figure of King Shaka and 'Zulu' ethnic identi
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Ncongwane, Sipho. "African materialist aesthetics in African literature with special reference to isiZulu texts." Thesis, 2018. http://hdl.handle.net/10500/25080.

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Text in English with abstracts in English, Afrikaans and isiZulu<br>This six-chapter study is a qualitative research work conducted within the Afrocentricity framework covering the application and testing of three newly found Afrocentric theories in African literature with special emphasis on isiZulu texts. The aim of this study is to test the application of Afrikan Humanism, Intsomi dream theory, and Africentricity theory. These theories were developed as a result of the debate between Eurocentric and Afrocentric scholars in literature and literary criticism. In this study the research comp
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Books on the topic "Zulu (African people) – Music – History and criticism"

1

Nightsong: Performance, power, and practice in South Africa. University of Chicago Press, 1996.

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Erlmann, Veit. The early social history of Zulu migrant workers' choral music in South Africa. Das Arabische Buch, 1990.

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3

Sound of Africa!: Making music Zulu in a South African studio. Duke University Press, 2003.

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Southern African Music Rights Organisation. Princess Magogo: A portrait. Southern African Music Rights Organisation, 2003.

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History of juju music: A history of an African popular music from Nigeria. The Organization, 1992.

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Njoku, John E. Eberegbulam. S hort stories of the traditional people of Nigeria: African folks, back home. E. Mellen Press, 1991.

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Black music in America: A history through its people. T.Y. Crowell, 1987.

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Orawo, Charles Nyakiti. Music of Kilifi: The Midzi Chenda and their music. Lake Publishers & Enterprises, 2002.

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Nzewi, Meki. Musical practice and creativity: An African traditional perspective. IWALEWA-Haus, Univ. of Bayreuth, 1991.

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Retracing Kikuyu popular music. Ketebul Music, 2010.

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Book chapters on the topic "Zulu (African people) – Music – History and criticism"

1

Sanders, Mark. "Ipi Tombi." In Learning Zulu. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691167565.003.0004.

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This chapter examines the historical significance of Ipi Tombi, a 1974 musical by South African writers Bertha Egnos and her daughter Gail Lakier, and describes it as an episode in the secret history of learning Zulu. Ipi Tombi was produced with the collaboration of black people, contains African music and dance, and was enthusiastically consumed by black audiences. After opening in Johannesburg in March 1974, where it ran for several years at the Brooke Theater, Ipi Tombi toured in various cities worldwide, including New York where it sparked protests from groups who accused the show of being a propaganda ploy by the South African government. The chapter also considers the legend of Johnny Clegg, a pop singer who blended rock with elements of Zulu music and performance, and concludes with a discussion of the meaning of the phrase “Ipi Tombi” as “Where are the girls?”.
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