Indigenous African Music: A Descriptive Analysis of Mmino wa Setšo from a Northern Sotho Perspective

Mapaya, Madimabe Geoff

doi:10.5901/mjss.2014.v5n20p2211

Cited by 4 publications

(7 citation statements)

References 9 publications

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“…Each dancer holds a one-note pipe which is played simultaneously while dancing the highly energetic, rhythmic footsteps that form the main point of interest in the music. Though I did not encounter anyone with knowledge of the history of this tradition beyond their own childhoods, the origins of it being a dance for men are thought to come from the use of flutes by soldiers during times of war, with the costumes and props alluding to historic weapons and costumes of warriors and hunters (Mapaya 2014).…”

Section: The Traditional Costume and Form Of The Dancementioning

confidence: 99%

“…In contrast to the cyclical material of the other instruments associated with dinaka, the pousene has its name because it "controls" the dancers and a good player will incite dancers into performing the most exciting, acrobatic steps. The term is thought to have originally derived from warnings about the dangers of the dynamite containers from which these drums were once constructed (Mapaya 2014). The pousene player must constantly be watching to follow the dancers and directly interacts with them to accentuate the rhythms of their steps and amplify the body movements.…”

Section: Naming Construction and Musical Functions Of The Drumsmentioning

confidence: 99%

“…I have used the kiba beat as the starting point for each of the transcriptions because it provides the most rhythmically consistent point of reference in each song and is the beginning or ending point of dance step cycles. The role of the kiba player is considered by many as the foundation of dinaka and the success or failure of the performance (Mapaya 2014). The method for notating these movements was heavily influenced by the work of Andrew Tracey and Laina Gumboreshumba on Venda Tshikona dancing (Tracey 2013).The top two staves are a reiteration of the pipe melody and support drum patterns to show more clearly where in the cycle the dance steps fall.…”

Section: Interpreting the Transcriptionsmentioning

confidence: 99%

“…Several publications explore the cultural context in which Pedi music is used (Huskisson 1958, James 1997, James 1999, James 2000, Mapaya 2014). These provide general descriptions of the instruments and the occasions for their use.…”

Section: Introductionmentioning

confidence: 99%

“…The name, dinaka, comes from the Sepedi name for pipes or flutes, naka being the term for a single pipe and dinaka being plural. Dinaka is considered by many as the quintessential form of Pedi music as it contains the musical structures and concepts on which nearly all other Northern Sotho genres are based (Mapaya 2014). This article focuses on technical descriptions of how the instruments are constructed and played along with an approach to the melody, rhythm, form and timbre which give the music its distinct sound.…”

Section: Introductionmentioning

confidence: 99%

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A Study of the Dinaka Pipe Dance of the Pedi People in South Africa

Chambers¹

2018

Afr. music

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This article provides a description and musical analysis of the Pedi genre known as dinaka, as it is currently practised (2016) in the rural areas throughout the Limpopo province. The role of this music is examined along with the implications of learning and performing it as a cultural outsider. The construction, methods of tuning, and playing techniques of the pipes, drums, and other instruments associated with dinaka are discussed. The form and structure of the music are interpreted as well as the idioms of rhythm, melody, and dance repertoire which imbue the genre with a distinct sound. Common methods for creating improvisational variations among the instrumental and dance parts are explained. The connection of dinaka to styles of Pedi vocal music is examined along with the proverbial meanings of the songs with which these melodies and rhythms are associated. Transcriptions of the dance steps, pipe melodies and drum rhythms have been developed to provide a visual representation of the music. The aim is to provide a resource from which one can study and understand the many aspects of dinaka.

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Section: The Traditional Costume and Form Of The Dancementioning

confidence: 99%

Section: Naming Construction and Musical Functions Of The Drumsmentioning

confidence: 99%

Section: Interpreting the Transcriptionsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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A Study of the Dinaka Pipe Dance of the Pedi People in South Africa

Chambers¹

2018

Afr. music

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The Significant Role Played by Long Social Connections and a Pleasant Interactive Experience Among Traditional Bapedi Music Practitioners

Lebaka

2023

European Journal of Social Sciences

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In Greater Sekhukhune District Municipality, Limpopo Province in South Africa, music is a form of communication and plays a functional role in the Bapedi society. Indigenous Bapedi music is often collaborative and requires communal undertaking and coordinated cooperation. Music and dancing are social activities in which almost traditional Bapedi music practitioners participate. Rhythm and percussive sounds are highly emphasized in indigenous Bapedi music, while the melodies and rhythms of the music usually form the song texts. The main objective of this paper is to examine the creative domain of musical performance among different traditional Bapedi music practitioners, and to share some insight on how traditional Bapedi music practitioners organize, conceptualize, and experience various aspects of their daily lives. The main question the study addressed is: what motivates traditional Bapedi music practitioners to work together, and to struggle for common goals? To achieve the objectives of this study, contextual approach was employed, and data was collected through observations, interviews and video recordings of rehearsals and performances during social gatherings. Relevant sources to the context of this study in the form of published journal articles, book chapters, books and theses were also consulted to compare and complement data collected from the field research. Closer investigation has revealed that music is not alien or extraneous to the Bapedi people, but part of the Bapedi culture. It was concluded that in Bapedi society, traditional music groups were also formed voluntarily with the primary purpose of music performance and dancing, by invitation at ceremonial occasions.

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Challenges Experienced by South African Indigenous Musicians: A Critical Discourse Analysis

Yende

2023

EHASS

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Framed within social constructivism theory, this article argued that government, organisations, and stakeholders could foster and promote collaboration, community engagement, cultural recognition and policy advocacy to address the socio-economic challenges faced by Indigenous African musicians. With an increasing number of indigenous African musicians who greatly contribute to the country’s cultural landscape, South Africa is well renowned for its incredibly rich and diversified heritage of music. However, due to modern influences and globalisation, there are growing concerns that indigenous African musicians are facing significant obstacles in the music industry that have implications for preserving and promoting cultural heritage. A sensitive endeavour that calls for careful navigation and adaptation is balancing classical aspects with modern musical genres. It was against this background that this article set out to critically discuss and raise awareness of the challenges experienced by South African Indigenous musicians. A qualitative research method was adopted together with critical discourse analysis as the primary methodology. The findings of this article pointed out that indigenous African musicians face several socio-economic challenges in pursuing their artistic careers. The findings of this article affirmed that there is a need to empower indigenous African musicians through educational programmes and financial support from various stakeholders to preserve South African culture, identity, and indigenous languages in the globalised world. Keywords: Cultural Heritage, Indigenous African Musicians, Indigenous Languages, Socio-economy, Sociomusicology

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Indigenous African Music: A Descriptive Analysis of Mmino wa Setšo from a Northern Sotho Perspective

Abstract: Abstract

Cited by 4 publications

References 9 publications

A Study of the Dinaka Pipe Dance of the Pedi People in South Africa

A Study of the Dinaka Pipe Dance of the Pedi People in South Africa

The Significant Role Played by Long Social Connections and a Pleasant Interactive Experience Among Traditional Bapedi Music Practitioners

Challenges Experienced by South African Indigenous Musicians: A Critical Discourse Analysis

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