A plea for Africa
- Hope Fountain Native Girls Choir, Composer not specified, Tracey, Hugh
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa South Africa City not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/204260 , vital:46763 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0682 , Research no.GU261
- Description: Topical song performed by a girls' choir, accompanied by the piano
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa South Africa City not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/204260 , vital:46763 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0682 , Research no.GU261
- Description: Topical song performed by a girls' choir, accompanied by the piano
- Full Text: false
- Date Issued: 0000-00-00
Lord, for thy tender mercy's sake
- Hope Fountain Native Girls Choir, Composer not specified, Tracey, Hugh
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa South Africa City not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/204251 , vital:46762 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0682 , Research no.GU261
- Description: Unaccompanied hymn performed by a choir consisting of young women
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa South Africa City not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/204251 , vital:46762 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0682 , Research no.GU261
- Description: Unaccompanied hymn performed by a choir consisting of young women
- Full Text: false
- Date Issued: 0000-00-00
Kade be songela ingonyama
- Hope Fountain Native Girls Choir, Composer not specified, Tracey, Hugh
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203327 , vital:46644 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0684 , Research no. GU258
- Description: Country song, unaccompanied
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203327 , vital:46644 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0684 , Research no. GU258
- Description: Country song, unaccompanied
- Full Text: false
- Date Issued: 0000-00-00
Mmamati belega nwana
- Hope Fountain Native Girls Choir, Composer not specified, Tracey, Hugh
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 1930-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Botswana city not specified f-sa
- Language: Setswana
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203381 , vital:46650 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0685 , Research no. GU255
- Description: Hoeing work song, unaccompanied
- Full Text: false
- Date Issued: 1930-00-00
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 1930-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Botswana city not specified f-sa
- Language: Setswana
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203381 , vital:46650 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0685 , Research no. GU255
- Description: Hoeing work song, unaccompanied
- Full Text: false
- Date Issued: 1930-00-00
Ntombi yepane
- Hope Fountain Native Girls Choir, Composer not specified, Tracey, Hugh
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203314 , vital:46643 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0684 , Research no. GU258
- Description: Dance song, unaccompanied
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-sa
- Language: Ndebele
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203314 , vital:46643 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0684 , Research no. GU258
- Description: Dance song, unaccompanied
- Full Text: false
- Date Issued: 0000-00-00
Dumelang bomme le ntate
- Hope Fountain Native Girls Choir, Composer not specified, Tracey, Hugh
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 1930-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Botswana city not specified f-sa
- Language: Setswana
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203391 , vital:46652 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0685 , Research no. GU255
- Description: Greeting song, unaccompanied
- Full Text: false
- Date Issued: 1930-00-00
- Authors: Hope Fountain Native Girls Choir , Composer not specified , Tracey, Hugh
- Date: 1930-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Botswana city not specified f-sa
- Language: Setswana
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/203391 , vital:46652 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0685 , Research no. GU255
- Description: Greeting song, unaccompanied
- Full Text: false
- Date Issued: 1930-00-00
A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir
- Authors: Van Zyl, Lionel
- Date: 2006
- Subjects: Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8513 , http://hdl.handle.net/10948/634 , Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Description: This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
- Full Text:
- Date Issued: 2006
- Authors: Van Zyl, Lionel
- Date: 2006
- Subjects: Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8513 , http://hdl.handle.net/10948/634 , Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Description: This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
- Full Text:
- Date Issued: 2006
Saul Msane: friend or foe of the people? The life of the late nineteenth to early twentieth centuries South African politician and journalist
- Authors: Mokoatsi, Thapelo
- Date: 2023-03-30
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/409799 , vital:70631 , DOI 10.21504/10962/409802
- Description: Saul Msane was a prominent founding member of the ANC and an active journalist and editor of the ANC newspaper Abantu-Batho. His career generated controversy. Towards the end of his life, he had a feud with his colleagues in the African National Congress (henceforth Congress) that led to him being labelled isitha sabantu, “the enemy of the people” for his refusal to support the Shilling strike of 1918, an accusation which was retracted a year after his death in 1919. The label of isitha sabantu levelled against Msane, had the effect of ending his political prominence in the Transvaal, forcing him to relocate to kwaNongoma where he died shortly thereafter. Msane’s years in the Congress amounted to about seven years, between 1912, the founding of the Congress, and the demise of his career in 1919. Msane’s seven years in Congress were characterised by controversies, clashes, and conflicts owing to his perceived elitism. In Congress historiography Msane is an obscure and elusive figure, he lives here and there in a footnote, as a supporting statement or a mentioned in mere passing. His marginalisation reveals some of the gaps within the history of Congress and invites us to write about those who did not emerge from the history of Congress necessarily as heroes. This thesis sets out to write a biography of Msane and document his political career beyond that one moment in which he came to be “isitha sabantu”. While Msane’s Congress career was comparably short and filled with tensions, an archive of his life exists. This study is an exploration of that archive to reconstruct the biography of a once prominent leader who dies in political exile from the Congress movement. This thesis sets out to do two key things in relation to reconstructing Msane’s life: Firstly, it reconstructs the longer biography of Msane’s political life by drawing on the existing archives, and thus filling in the South African historical record in that regard. Secondly, at the broader conceptual and historiographical level, it argues that the controversies surrounding Msane’s persona and character illustrate that conceptions of elitism and the nature of being ‘elite’ were key to the politics of Congress at the time. , U-Saul Msane wayengomunye wabasunguli beqembu lika-African National Congress (uKhongolose) futhi eyIntatheli nomhleli wephephandaba i-Abantu-Batho. Umsebenzi ayewenza waba nezingqinamba eziningi ngokwezepolitiki. Ngasekugcineni kwempilo yakhe waba nokungazwani nabaholi ayesebenza nabo kuKhongolose okwadala ukuba abizwe ngesitha sabantu ngenxa yokuba engavumelananga nesiteleka sango-1918 lapho abasebenzi babelwela ukukhushulelwa amaholo. Leligama lokubizwa ngesitha sabantu lahoxiswa ngo 1919 sekudlule unyaka engasekho emhlabeni. Lokubizwa ngesitha sabantu kwalilimaza igama lakhe kwezepolitiki e-Transvaal waze wathutha wayohlala kwaNongoma nokuyilapho ashonela khona. Iminyaka uMsane ayisebenzele uKhongolose yaba isikhombisa, kusukela ekusungulweni kwayo ngo 1912 kuze kufike ekulimaleni komsebenzi wakhe wezepolitiki ngo 1919. Kuleminyaka eyisikhombisa umsebenzi wakhe kuKhongolose wawubhekene nokugxekwa okukhulu nokubukeka njengomuntu onokuzenza ngcono kunabanye abantu. Emlandweni kaKhongolose uMsane akavezwa ngendlela emfanele, kukhulunywa ngaye kudlulwa nje. Lokunganakwa kukaMsane emlandweni kaKhongolose kusiphoqa ukuba sibhale ngabaholi abangaqakanjiswa. Lolucwaningo luveza umlando kaMsane ngokujulile ngaphezu kwangalesikhathi abizwa khona ngesitha sabantu. Noma umsebenzi kaMsane kuKhongolose wabamfushane kunabanye futhi ugcwele izinto kodwa noko ingobo yawo ikhona. Lolucwaningo lucubungula lengobo ukuhlaziya nokubhala kabusha umlando wengqalabutho eyagcina ishonela ngaphandle kombutho kaKhongolose. Loluphando lifisa ukwenza izinto ezimbili: Okokuqala, ibhala kabusha umlando omude wezepolitiki kaMsane kusetshenziswa ulwazi olukhona. Loku kuzosiza ukunothisa umlando wezepolitiki wezwe laseNingizimu Afrika. Okwesibili, ezingeni lobunzululwazi, lolucwaningo luveza ukuthi izinkinga uMsane ahlangabezana nazo zazisukele endleleni okwakubukwa ngayo indaba yokucwasana ngazinga empilo abantu, kwakuyinto ejulile kuKhongolose ukubukeka kwabanye sengathi bazenza ngcono. , Thesis (PhD) -- Faculty of Humanities, History, 2023
- Full Text:
- Date Issued: 2023-03-30
- Authors: Mokoatsi, Thapelo
- Date: 2023-03-30
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/409799 , vital:70631 , DOI 10.21504/10962/409802
- Description: Saul Msane was a prominent founding member of the ANC and an active journalist and editor of the ANC newspaper Abantu-Batho. His career generated controversy. Towards the end of his life, he had a feud with his colleagues in the African National Congress (henceforth Congress) that led to him being labelled isitha sabantu, “the enemy of the people” for his refusal to support the Shilling strike of 1918, an accusation which was retracted a year after his death in 1919. The label of isitha sabantu levelled against Msane, had the effect of ending his political prominence in the Transvaal, forcing him to relocate to kwaNongoma where he died shortly thereafter. Msane’s years in the Congress amounted to about seven years, between 1912, the founding of the Congress, and the demise of his career in 1919. Msane’s seven years in Congress were characterised by controversies, clashes, and conflicts owing to his perceived elitism. In Congress historiography Msane is an obscure and elusive figure, he lives here and there in a footnote, as a supporting statement or a mentioned in mere passing. His marginalisation reveals some of the gaps within the history of Congress and invites us to write about those who did not emerge from the history of Congress necessarily as heroes. This thesis sets out to write a biography of Msane and document his political career beyond that one moment in which he came to be “isitha sabantu”. While Msane’s Congress career was comparably short and filled with tensions, an archive of his life exists. This study is an exploration of that archive to reconstruct the biography of a once prominent leader who dies in political exile from the Congress movement. This thesis sets out to do two key things in relation to reconstructing Msane’s life: Firstly, it reconstructs the longer biography of Msane’s political life by drawing on the existing archives, and thus filling in the South African historical record in that regard. Secondly, at the broader conceptual and historiographical level, it argues that the controversies surrounding Msane’s persona and character illustrate that conceptions of elitism and the nature of being ‘elite’ were key to the politics of Congress at the time. , U-Saul Msane wayengomunye wabasunguli beqembu lika-African National Congress (uKhongolose) futhi eyIntatheli nomhleli wephephandaba i-Abantu-Batho. Umsebenzi ayewenza waba nezingqinamba eziningi ngokwezepolitiki. Ngasekugcineni kwempilo yakhe waba nokungazwani nabaholi ayesebenza nabo kuKhongolose okwadala ukuba abizwe ngesitha sabantu ngenxa yokuba engavumelananga nesiteleka sango-1918 lapho abasebenzi babelwela ukukhushulelwa amaholo. Leligama lokubizwa ngesitha sabantu lahoxiswa ngo 1919 sekudlule unyaka engasekho emhlabeni. Lokubizwa ngesitha sabantu kwalilimaza igama lakhe kwezepolitiki e-Transvaal waze wathutha wayohlala kwaNongoma nokuyilapho ashonela khona. Iminyaka uMsane ayisebenzele uKhongolose yaba isikhombisa, kusukela ekusungulweni kwayo ngo 1912 kuze kufike ekulimaleni komsebenzi wakhe wezepolitiki ngo 1919. Kuleminyaka eyisikhombisa umsebenzi wakhe kuKhongolose wawubhekene nokugxekwa okukhulu nokubukeka njengomuntu onokuzenza ngcono kunabanye abantu. Emlandweni kaKhongolose uMsane akavezwa ngendlela emfanele, kukhulunywa ngaye kudlulwa nje. Lokunganakwa kukaMsane emlandweni kaKhongolose kusiphoqa ukuba sibhale ngabaholi abangaqakanjiswa. Lolucwaningo luveza umlando kaMsane ngokujulile ngaphezu kwangalesikhathi abizwa khona ngesitha sabantu. Noma umsebenzi kaMsane kuKhongolose wabamfushane kunabanye futhi ugcwele izinto kodwa noko ingobo yawo ikhona. Lolucwaningo lucubungula lengobo ukuhlaziya nokubhala kabusha umlando wengqalabutho eyagcina ishonela ngaphandle kombutho kaKhongolose. Loluphando lifisa ukwenza izinto ezimbili: Okokuqala, ibhala kabusha umlando omude wezepolitiki kaMsane kusetshenziswa ulwazi olukhona. Loku kuzosiza ukunothisa umlando wezepolitiki wezwe laseNingizimu Afrika. Okwesibili, ezingeni lobunzululwazi, lolucwaningo luveza ukuthi izinkinga uMsane ahlangabezana nazo zazisukele endleleni okwakubukwa ngayo indaba yokucwasana ngazinga empilo abantu, kwakuyinto ejulile kuKhongolose ukubukeka kwabanye sengathi bazenza ngcono. , Thesis (PhD) -- Faculty of Humanities, History, 2023
- Full Text:
- Date Issued: 2023-03-30
A portrait of a school : Healdtown Missionary Institution (1925-1955) through the eyes of some of its ex-pupils
- Peppeta, Joseph Ability Mzwanele
- Authors: Peppeta, Joseph Ability Mzwanele
- Date: 1989
- Subjects: Healdtown Institution , Black people -- Education -- South Africa -- History
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1339 , http://hdl.handle.net/10962/d1001405
- Description: The study is on Healdtown Missionary Institution. A broad background has been given from 1855 when the Institution was established by Sir George Grey. The emphasis has, however, been from 1925 when the earliest respondents were admitted, up to 1955 when the Department of Bantu Education took over from the missionaries. This period has been deliberately chosen since Healdtown was largely run by the Wesleyan Missionaries during that time. It must also be mentioned that the administration side of Healdtown has not been covered, since Professor Hewson has given a broad picture of this aspect in his doctoral thesis (1959). Similarly, the situation in the classrooms has not been considered except where appropriate references have been cited by respondents. The stress is on the different activities that took place, mainly in every day life in the Institution. Some of these are the positions of responsibility held by respondents in the Institution and their effect on them (the respondents) in later life. This can be coupled with the contribution the respondents made to their communities after leaving Healdtown. The most important thing about the study is what has been revealed with regard to the three generations: the parents of the respondents, the respondents themselves and the children of the respondents. In this aspect a picture of how elite produces elite has been highlighted. To add more flavour, the memories, both good and bad, have been analysed and in order to see whether these are common or peculiar, a comparison was made with similar day schools (secondary) in Soweto. In the conclusion, especially, the limited opportunities for Black pupils to have secondary education during this period is also highlighted. This goes with the eagerness and efforts shown by parents to give secondary schooling to their children. Last, but not least, in the conclusion to this thesis certain deductions from the study have been exposed. What the graduates think about the future of the Institution together with how they view the pupils of the eighties has received a place. It must also be mentioned that the graduates seem to view Healdtown as having prepared them for life
- Full Text:
- Date Issued: 1989
- Authors: Peppeta, Joseph Ability Mzwanele
- Date: 1989
- Subjects: Healdtown Institution , Black people -- Education -- South Africa -- History
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1339 , http://hdl.handle.net/10962/d1001405
- Description: The study is on Healdtown Missionary Institution. A broad background has been given from 1855 when the Institution was established by Sir George Grey. The emphasis has, however, been from 1925 when the earliest respondents were admitted, up to 1955 when the Department of Bantu Education took over from the missionaries. This period has been deliberately chosen since Healdtown was largely run by the Wesleyan Missionaries during that time. It must also be mentioned that the administration side of Healdtown has not been covered, since Professor Hewson has given a broad picture of this aspect in his doctoral thesis (1959). Similarly, the situation in the classrooms has not been considered except where appropriate references have been cited by respondents. The stress is on the different activities that took place, mainly in every day life in the Institution. Some of these are the positions of responsibility held by respondents in the Institution and their effect on them (the respondents) in later life. This can be coupled with the contribution the respondents made to their communities after leaving Healdtown. The most important thing about the study is what has been revealed with regard to the three generations: the parents of the respondents, the respondents themselves and the children of the respondents. In this aspect a picture of how elite produces elite has been highlighted. To add more flavour, the memories, both good and bad, have been analysed and in order to see whether these are common or peculiar, a comparison was made with similar day schools (secondary) in Soweto. In the conclusion, especially, the limited opportunities for Black pupils to have secondary education during this period is also highlighted. This goes with the eagerness and efforts shown by parents to give secondary schooling to their children. Last, but not least, in the conclusion to this thesis certain deductions from the study have been exposed. What the graduates think about the future of the Institution together with how they view the pupils of the eighties has received a place. It must also be mentioned that the graduates seem to view Healdtown as having prepared them for life
- Full Text:
- Date Issued: 1989
Umemulo and Zulu girlhood: From preservation to variations of ukuhlonipha nokufihla (respect and secrecy)
- Authors: Mntambo, Londiwe Nompilo
- Date: 2021-04
- Subjects: Virginity , Zulu (African people) -- Rites and ceremonies , Zulu (African people) -- Social life and customs , Virginity -- Social aspects , Women, Zulu -- South Africa -- KwaZulu-Natal -- Social conditions , Women -- Social and moral questions
- Language: English , Zulu
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178352 , vital:42932
- Description: This study examines evolving definitions of ukuziphatha kahle that historically relied on the preservation of virginity for Zulu girls, who participate in the umemulo ceremony that marks the transition from girlhood to womanhood. It examines notions of Zulu girlhood as understood through preservation - ukugcina isibaya sikaBaba - and through respectability and secrecy - ukuhlonipha nokufihla. The study analyses how conceptions of ukuziphatha kahle (good behavior) have evolved in the context of sexual rights in the performance of Zulu girlhood. It is located in the interdisciplinary literature of global girlhood studies, and African feminist lenses of womanhood and rites of passages. The study draws from 26 interviews with Zulu women who have gone through umemulo, elder women who facilitate virginity testing and umemulo; and female relatives of women who have gone through umemulo in Estcourt, Wembezi, Paapkalius Fountain, Ntabamhlophe and Cornfields in KwaZulu-Natal. This thesis contextualises umemulo and ukuziphatha kahle (good behaviour) in democratic South Africa. Umemulo is a ritual done for a Zulu girl whose behaviour is deemed to be good. While this is clear, what constitutes ukuziphatha kahle (good behaviour) is contested. On stricter terms, ukuziphatha kahle means to be intombi nto (a virgin). The interviews with women who went through umemulo show that most of them were not virgins at the time of the ritual. The elder and younger women expressed that ukuziphatha kahle for them goes beyond the girl’s virginity. Instead, they understand it as a girl who does not have a child, and who has shown respect and obedience to her parents and elders. Strikingly, the study shows an inter-generational collusion between the younger and elder women, who maintain the outward appearance of virginity of the girls who participate in umemulo. The study argues that there are variations of ukuhlonipha (respect), which in the rights context of democratic South Africa overlap into ukufihla (secrecy). Importantly, it is clear that the concept of being a good Zulu womanhood holds and remains important for Zulu girls and women. However, the ways in which Zulu women experience and perform this is complex. The findings show that while many Zulu girls want to be seen as performing accepted good Zulu womanhood, they do so in ways that allow them to enjoy their sexual rights and pleasure. This is not a tension. , Thesis (MA) -- Faculty of Humanities, Politial and International Studies, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Mntambo, Londiwe Nompilo
- Date: 2021-04
- Subjects: Virginity , Zulu (African people) -- Rites and ceremonies , Zulu (African people) -- Social life and customs , Virginity -- Social aspects , Women, Zulu -- South Africa -- KwaZulu-Natal -- Social conditions , Women -- Social and moral questions
- Language: English , Zulu
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178352 , vital:42932
- Description: This study examines evolving definitions of ukuziphatha kahle that historically relied on the preservation of virginity for Zulu girls, who participate in the umemulo ceremony that marks the transition from girlhood to womanhood. It examines notions of Zulu girlhood as understood through preservation - ukugcina isibaya sikaBaba - and through respectability and secrecy - ukuhlonipha nokufihla. The study analyses how conceptions of ukuziphatha kahle (good behavior) have evolved in the context of sexual rights in the performance of Zulu girlhood. It is located in the interdisciplinary literature of global girlhood studies, and African feminist lenses of womanhood and rites of passages. The study draws from 26 interviews with Zulu women who have gone through umemulo, elder women who facilitate virginity testing and umemulo; and female relatives of women who have gone through umemulo in Estcourt, Wembezi, Paapkalius Fountain, Ntabamhlophe and Cornfields in KwaZulu-Natal. This thesis contextualises umemulo and ukuziphatha kahle (good behaviour) in democratic South Africa. Umemulo is a ritual done for a Zulu girl whose behaviour is deemed to be good. While this is clear, what constitutes ukuziphatha kahle (good behaviour) is contested. On stricter terms, ukuziphatha kahle means to be intombi nto (a virgin). The interviews with women who went through umemulo show that most of them were not virgins at the time of the ritual. The elder and younger women expressed that ukuziphatha kahle for them goes beyond the girl’s virginity. Instead, they understand it as a girl who does not have a child, and who has shown respect and obedience to her parents and elders. Strikingly, the study shows an inter-generational collusion between the younger and elder women, who maintain the outward appearance of virginity of the girls who participate in umemulo. The study argues that there are variations of ukuhlonipha (respect), which in the rights context of democratic South Africa overlap into ukufihla (secrecy). Importantly, it is clear that the concept of being a good Zulu womanhood holds and remains important for Zulu girls and women. However, the ways in which Zulu women experience and perform this is complex. The findings show that while many Zulu girls want to be seen as performing accepted good Zulu womanhood, they do so in ways that allow them to enjoy their sexual rights and pleasure. This is not a tension. , Thesis (MA) -- Faculty of Humanities, Politial and International Studies, 2021
- Full Text:
- Date Issued: 2021-04
Music and (post)colonialism : the dialectics of choral culture on a South African frontier
- Authors: Olwage, Grant
- Date: 2004
- Subjects: Choral music -- South Africa -- History Black people -- South Africa -- Music -- History and criticism Bokwe, John Knox, 1855-1922
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2679 , http://hdl.handle.net/10962/d1007717
- Description: This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".
- Full Text:
- Date Issued: 2004
- Authors: Olwage, Grant
- Date: 2004
- Subjects: Choral music -- South Africa -- History Black people -- South Africa -- Music -- History and criticism Bokwe, John Knox, 1855-1922
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2679 , http://hdl.handle.net/10962/d1007717
- Description: This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".
- Full Text:
- Date Issued: 2004
Aspects of musical education in Grahamstown, 1832-1950
- Authors: Sparrow, Marion Janet
- Date: 1986
- Subjects: School music -- South Africa -- Grahamstown School music -- Instruction and study -- South Africa -- Grahamstown Music -- South Africa -- Grahamstown -- History
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2664 , http://hdl.handle.net/10962/d1004616
- Description: From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
- Full Text:
- Date Issued: 1986
- Authors: Sparrow, Marion Janet
- Date: 1986
- Subjects: School music -- South Africa -- Grahamstown School music -- Instruction and study -- South Africa -- Grahamstown Music -- South Africa -- Grahamstown -- History
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2664 , http://hdl.handle.net/10962/d1004616
- Description: From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
- Full Text:
- Date Issued: 1986
An exploratory study of South African choral identity with specific reference to three regional children's choirs
- Authors: Swart, Jan-Erik
- Date: 2012
- Subjects: Children's choirs , Cultural pluralism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8519 , http://hdl.handle.net/10948/d1013205
- Description: This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.
- Full Text:
- Date Issued: 2012
- Authors: Swart, Jan-Erik
- Date: 2012
- Subjects: Children's choirs , Cultural pluralism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8519 , http://hdl.handle.net/10948/d1013205
- Description: This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.
- Full Text:
- Date Issued: 2012
Confronting Afrikaans diction challenges in non-Afrikaans mother tongue choirs
- Authors: Botha, Charlotte
- Date: 2014
- Subjects: Choral singing -- Diction , Afrikaans language -- Diction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8529 , http://hdl.handle.net/10948/d1020956
- Description: This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.
- Full Text:
- Date Issued: 2014
- Authors: Botha, Charlotte
- Date: 2014
- Subjects: Choral singing -- Diction , Afrikaans language -- Diction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8529 , http://hdl.handle.net/10948/d1020956
- Description: This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.
- Full Text:
- Date Issued: 2014
Colonial power and the transformation of feudal relations in Buganda 1900-1962
- Authors: Sekiswa, Peter
- Date: 2020-12
- Subjects: Uganda , Uganda (South Africa) , South Africa
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10948/55218 , vital:49670
- Description: This thesis has engaged in a debate that the establishment of colonial administration in Buganda in the 19th century more than anything else saw the transformation the Buganda state into an African feudal state. Basic explanation for this state of affairs was the need by the colonial authority to establish a dependent commodity producing economy in Buganda. The African feudal state contextually referred to is the transformation of power, labour and economic relations in this period to suit circumstances that favoured the process of commodity production in the Buganda state; a process that involved the strengthening of the political power base, by creating a landed oligarchy, thus destroying the traditional patron–client relations and creating out of such a relation a class of civil servants, yet also extracting land rent from siting tenant in an agrarian economic system. This period saw an interplay of numerous actors like the Christian missionaries and their Buganda collaborators, the Christian elite (Abasomi), the Learners. The second phase of this study examines the creation of a colonial economic system based on commodity production and the colonial authority creating a frame work of operation, as to how the economy-based commodity production was to operate as to either allow a settler plantation or a peasant mode of production. Coupled with the effects of the wars of nations the deteriorating economic conditions and the age of the rise of the spirit of nationalism in the 1950s, created a class of agitators against the colonial authority. Using the historical methodology, the study employed the use of oral interviews, archives, primary printed journals, and secondary sources, to trace the evolution of labour, political and economic relations in the Buganda state. This was in order to understand the process leading to the creation of the modern Buganda colonial state by 1962. The study puts it that the intercourse between the British colonial administrators and the Buganda state leaders was responsible for the resultant state of affairs. Intentionally or unintentionally, the British colonial authority created a new nation state dominated by a landed class elite. It is this elite class that led the independence struggle not for the whole nation but for one region of the country - their kingdom Buganda - the cause of conflict between the British colonial authority and the Buganda Kingdom, but also a source of economic and political competition between Buganda and other regions of Uganda. , Thesis (PhD) -- Faculty of Humanities, School of Governmental and Social Sciences, 2020
- Full Text:
- Date Issued: 2020-12
- Authors: Sekiswa, Peter
- Date: 2020-12
- Subjects: Uganda , Uganda (South Africa) , South Africa
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10948/55218 , vital:49670
- Description: This thesis has engaged in a debate that the establishment of colonial administration in Buganda in the 19th century more than anything else saw the transformation the Buganda state into an African feudal state. Basic explanation for this state of affairs was the need by the colonial authority to establish a dependent commodity producing economy in Buganda. The African feudal state contextually referred to is the transformation of power, labour and economic relations in this period to suit circumstances that favoured the process of commodity production in the Buganda state; a process that involved the strengthening of the political power base, by creating a landed oligarchy, thus destroying the traditional patron–client relations and creating out of such a relation a class of civil servants, yet also extracting land rent from siting tenant in an agrarian economic system. This period saw an interplay of numerous actors like the Christian missionaries and their Buganda collaborators, the Christian elite (Abasomi), the Learners. The second phase of this study examines the creation of a colonial economic system based on commodity production and the colonial authority creating a frame work of operation, as to how the economy-based commodity production was to operate as to either allow a settler plantation or a peasant mode of production. Coupled with the effects of the wars of nations the deteriorating economic conditions and the age of the rise of the spirit of nationalism in the 1950s, created a class of agitators against the colonial authority. Using the historical methodology, the study employed the use of oral interviews, archives, primary printed journals, and secondary sources, to trace the evolution of labour, political and economic relations in the Buganda state. This was in order to understand the process leading to the creation of the modern Buganda colonial state by 1962. The study puts it that the intercourse between the British colonial administrators and the Buganda state leaders was responsible for the resultant state of affairs. Intentionally or unintentionally, the British colonial authority created a new nation state dominated by a landed class elite. It is this elite class that led the independence struggle not for the whole nation but for one region of the country - their kingdom Buganda - the cause of conflict between the British colonial authority and the Buganda Kingdom, but also a source of economic and political competition between Buganda and other regions of Uganda. , Thesis (PhD) -- Faculty of Humanities, School of Governmental and Social Sciences, 2020
- Full Text:
- Date Issued: 2020-12
St. Hilda's Native College, Enhlonhlweni, Ladysmith Natal. Girls spinning and weaving
- Subjects: Zululand -- History -- Photographs Zulu (African people) -- Social life and customs Natal (South Africa) -- History -- Photographs Kwamagwaza (South Africa) -- History -- Photographs Etalaneni (South Africa) -- History -- Photographs Nottingham Mission (South Africa) -- History -- Photographs Mooirivier (South Africa) -- History -- Photographs Ladysmith (South Africa) -- History -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/32279 , vital:24028 , PIC/A 4325 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017.
- Description: Album relating to the Zulu people of Zululand in the Natal Province during the years 1930-31 and 1934, taken at various places, including Chads College, Ladysmith; Springfield, Mooirivier; the Leytown Pohams House ("Hemrock"), Nottingham Road; Umlazi Mission; Etalaneni; Kwamagwaza; on the way to Biyela : mainly photographs, some original, some photocopies, with descriptive text in some cases / photographer unknown. 50 Hhotographs in one album : b+w (some sepia), 22 cm x 10 cm or less.
- Full Text: false
- Subjects: Zululand -- History -- Photographs Zulu (African people) -- Social life and customs Natal (South Africa) -- History -- Photographs Kwamagwaza (South Africa) -- History -- Photographs Etalaneni (South Africa) -- History -- Photographs Nottingham Mission (South Africa) -- History -- Photographs Mooirivier (South Africa) -- History -- Photographs Ladysmith (South Africa) -- History -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/32279 , vital:24028 , PIC/A 4325 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017.
- Description: Album relating to the Zulu people of Zululand in the Natal Province during the years 1930-31 and 1934, taken at various places, including Chads College, Ladysmith; Springfield, Mooirivier; the Leytown Pohams House ("Hemrock"), Nottingham Road; Umlazi Mission; Etalaneni; Kwamagwaza; on the way to Biyela : mainly photographs, some original, some photocopies, with descriptive text in some cases / photographer unknown. 50 Hhotographs in one album : b+w (some sepia), 22 cm x 10 cm or less.
- Full Text: false
St. Hilda's Native College, Enhlonhlweni, Ladysmith Natal. Girls dressmaking, cooking and ironing
- Subjects: Zululand -- History -- Photographs Zulu (African people) -- Social life and customs Natal (South Africa) -- History -- Photographs Kwamagwaza (South Africa) -- History -- Photographs Etalaneni (South Africa) -- History -- Photographs Nottingham Mission (South Africa) -- History -- Photographs Mooirivier (South Africa) -- History -- Photographs Ladysmith (South Africa) -- History -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/32260 , vital:24026 , PIC/A 4324 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017.
- Description: Album relating to the Zulu people of Zululand in the Natal Province during the years 1930-31 and 1934, taken at various places, including Chads College, Ladysmith; Springfield, Mooirivier; the Leytown Pohams House ("Hemrock"), Nottingham Road; Umlazi Mission; Etalaneni; Kwamagwaza; on the way to Biyela : mainly photographs, some original, some photocopies, with descriptive text in some cases / photographer unknown. 50 Hhotographs in one album : b+w (some sepia), 22 cm x 10 cm or less.
- Full Text: false
- Subjects: Zululand -- History -- Photographs Zulu (African people) -- Social life and customs Natal (South Africa) -- History -- Photographs Kwamagwaza (South Africa) -- History -- Photographs Etalaneni (South Africa) -- History -- Photographs Nottingham Mission (South Africa) -- History -- Photographs Mooirivier (South Africa) -- History -- Photographs Ladysmith (South Africa) -- History -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/32260 , vital:24026 , PIC/A 4324 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017.
- Description: Album relating to the Zulu people of Zululand in the Natal Province during the years 1930-31 and 1934, taken at various places, including Chads College, Ladysmith; Springfield, Mooirivier; the Leytown Pohams House ("Hemrock"), Nottingham Road; Umlazi Mission; Etalaneni; Kwamagwaza; on the way to Biyela : mainly photographs, some original, some photocopies, with descriptive text in some cases / photographer unknown. 50 Hhotographs in one album : b+w (some sepia), 22 cm x 10 cm or less.
- Full Text: false
Isitandwa Sami
- Choir of Saint Mary's Convent School, not specified, Tyamazashe, Tracey, Hugh
- Authors: Choir of Saint Mary's Convent School , not specified , Tyamazashe , Tracey, Hugh
- Date: 1951-05-22
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Lesotho City not specified f-lo
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/226670 , vital:49361 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR2007 , XYZ5701
- Description: Love song by a choir of 36 girls
- Full Text: false
- Date Issued: 1951-05-22
- Authors: Choir of Saint Mary's Convent School , not specified , Tyamazashe , Tracey, Hugh
- Date: 1951-05-22
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Lesotho City not specified f-lo
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/226670 , vital:49361 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR2007 , XYZ5701
- Description: Love song by a choir of 36 girls
- Full Text: false
- Date Issued: 1951-05-22
An analysis of oral literary music texts in isiXhosa
- Authors: Mpola, Mavis Noluthando
- Date: 2007
- Subjects: Xhosa (African people) -- Music , Xhosa (African people) -- Music -- History , Xhosa (African people) -- Folklore , Composers, Black -- South Africa , Hymns, Xhosa , Folk literature, Xhosa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3632 , http://hdl.handle.net/10962/d1012909
- Description: 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).
- Full Text:
- Date Issued: 2007
- Authors: Mpola, Mavis Noluthando
- Date: 2007
- Subjects: Xhosa (African people) -- Music , Xhosa (African people) -- Music -- History , Xhosa (African people) -- Folklore , Composers, Black -- South Africa , Hymns, Xhosa , Folk literature, Xhosa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3632 , http://hdl.handle.net/10962/d1012909
- Description: 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).
- Full Text:
- Date Issued: 2007
Choir at St James Mission in Cradock
- Date: 1935
- Subjects: Calata, James Arthur,1895-1983 -- Photographs Sunbeams (Girls' society) -- South Africa (Eastern Cape) --Cradock -- Photographs Pathfinders (Organization) Churchwork with youth -- South Africa (Eastern Cape) -- Cradock -- Photographs Girls -- Societies, Etc. -- Photographs Boys -- Societies, Etc. -- Photographs Churchwork with children -- South Africa (Eastern Cape) -- Cradock -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/23001 , vital:23094 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017 , PIC/A 4945-4
- Description: A photograph album compiled by Mary Butler, containing photographs of Wayfarers, Sunbeams and Pathfinders, mostly in Cradock. Two newspaper clippings and a handwritten concert programme included. There are three photographs of Rev. James Arthur Calata's young daughters, and he himself is included in two photographs. This photograph showing a choir consisting of young African girls at St James Mission in Cradock, Eastern Cape. Rev James Arthur Calata was the priest-in-charge of St James Anglican Mission Church and also school mananager of the St James Mission School. He had deep interest in the education of an African child. Amongst the things he did for the mission school was to re-create it into a social sphere of transformation, and established a church choir
- Full Text: false
- Date Issued: 1935
- Date: 1935
- Subjects: Calata, James Arthur,1895-1983 -- Photographs Sunbeams (Girls' society) -- South Africa (Eastern Cape) --Cradock -- Photographs Pathfinders (Organization) Churchwork with youth -- South Africa (Eastern Cape) -- Cradock -- Photographs Girls -- Societies, Etc. -- Photographs Boys -- Societies, Etc. -- Photographs Churchwork with children -- South Africa (Eastern Cape) -- Cradock -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/23001 , vital:23094 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017 , PIC/A 4945-4
- Description: A photograph album compiled by Mary Butler, containing photographs of Wayfarers, Sunbeams and Pathfinders, mostly in Cradock. Two newspaper clippings and a handwritten concert programme included. There are three photographs of Rev. James Arthur Calata's young daughters, and he himself is included in two photographs. This photograph showing a choir consisting of young African girls at St James Mission in Cradock, Eastern Cape. Rev James Arthur Calata was the priest-in-charge of St James Anglican Mission Church and also school mananager of the St James Mission School. He had deep interest in the education of an African child. Amongst the things he did for the mission school was to re-create it into a social sphere of transformation, and established a church choir
- Full Text: false
- Date Issued: 1935