My music, my voice: Musicality, culture and childhood in Vhavenda communities

Emberly, Andrea; Davhula, Lusani Antoinette

doi:10.1177/0907568216643067

Cited by 9 publications

(5 citation statements)

References 29 publications

(28 reference statements)

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“…During tshifasi dancing, the songs sang play an important role in what one might become. Music also has a major influence on the person's behavior and life [25,27].…”

Section: Discussionmentioning

confidence: 99%

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Using Vhavenda Traditional Entertainment to Curb HIV Spread in the Rural South African District

Ndou-Mammbona,

Moyo,

Tshivhase

et al. 2023

Advances in Public Health

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Purpose. This study explored the use of traditional entertainment as a means of curbing human immunodeficiency virus (HIV) spread in the Vhembe district of South Africa. Engaging in cultural dances like tshikona, tshifasi, tshigombela, malende, davha, and musangwe keeps the youth grounded, making it less likely that they will engage in unprotected sexual intercourse. Methods. This qualitative study utilized an ethnographic design. The study was conducted in rural villages in Vhembe district, Limpopo province in South Africa. Eighteen participants consisted of Vhavenda traditional leaders and chiefs who met the selection criteria were purposively selected to participate in the study. The sample size was determined by data saturation. Semistructured face-to-face interviews were used to collect data, guided by an interview guide. Four observations were done concurrently with the interviews. Interviews were audio-recorded, and field notes were taken. Ethnographic content analysis was used to analyze the data collected. Results. The results indicate that Vhavenda traditional entertainments like tshigombela and tshikona can be used in reducing and managing the spread of HIV, whereas malende, tshifasi, davha, and musangwe have the potential to spread and increase incidences of HIV. Conclusion. The traditional entertainment such as tshigombela and tshikona can be utilized as they instill good morals. Malende, tshifasi, davha, and musangwe can be repatterned and modified. Traditional entertainments, if properly utilized, can add to the strategies of reducing the new incidences of HIV.

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“…During tshifasi dancing, the songs sang play an important role in what one might become. Music also has a major influence on the person's behavior and life [25,27].…”

Section: Discussionmentioning

confidence: 99%

“…Malende is a traditional song and dance genre performed primarily by women and girls, typically one singer dances to drummers and improvises lyrics on a well-known melody [25]. Malende is usually performed in an informal setting, handclapping, singing, and a drum would often accompany it.…”

Section: Introductionmentioning

confidence: 99%

Using Vhavenda Traditional Entertainment to Curb HIV Spread in the Rural South African District

Ndou-Mammbona,

Moyo,

Tshivhase

et al. 2023

Advances in Public Health

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“…Of the 22 participants, only three had visited some countries in Africa. In addition, they learnt about the importance of sharing, respect, ancestral worship, and consulting with elders (Emberly & Davhula, 2016; Lebaka, 2018). This aspect of cultural teaching gave participants some idea of the importance and the role music plays in African indigenous societies.…”

Section: Discussionmentioning

confidence: 99%

“I did not know what to expect”: Music as a means to achieving work-life balance

Joseph

2020

Research Studies in Music Education

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Work–life balance has become a buzzword in many corporate settings. This study situates itself at a higher education institute in Melbourne (Australia) where African music (singing and drumming) was used as a lever for faculty staff to “break from work” and “learn about a new music and culture”. Drawing on email communication, questionnaire data, and anecdotal feedback, a phenomenological approach was adopted to explore the benefits, challenges, and opportunities staff experienced as a recreational group music activity. Data were analyzed using interpretative phenomenological analysis as a tool. Two overarching themes emerged (group participation and learning, and challenges) and are discussed in the findings. The workshops proved successful and are worthy to be replicated in other places and spaces. Further research is needed to gain insight into whether regular music workshops can influence work–life balance and professional learning for staff.

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“…There have been recent calls to research how music intersects with questions of social justice to transform harmful contexts (intrapersonal, interpersonal, community, institutional, state, and global) and contribute to radical love and care (Silver 2020, p. 177). While young people use music to voice, connect, and shape their experiences, this expressive space has often been overlooked in the dominant literature, which diminishes their capacity as creators and propagators of musical traditions (Emberly and Davhula 2016). Popular music is studied for its escapism, meaning how people appropriate it for psychological and emotional wellbeing (McFerran and Saarikallio 2014;Schäfer 2016) or as a way to transgress, mobilize, foster activism, recruit, as well as to propagate and indoctrinate (Kong 1995;Rosenthal 2001;Kahn-Harris 2004).…”

Section: Introductionmentioning

confidence: 99%

Storytelling through Popular Music: Social Memory, Reconciliation, and Intergenerational Healing in Oromia/Ethiopia

Abebe

2021

Humanities

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Drawing on a popular music video titled ‘Beelbaa’ by a young Oromo artist, Jambo Jote, this article discusses the moments and contexts that compel young people to speak up in subtle and poetic ways. By interpreting the content of the lyrics, doing a visual analysis of the music video, and connecting both to contemporary discourses, it explores how researching social memory through music can be used as a lens to understand Ethiopian society, politics, and history. The article draws attention to alternative spaces of resistance as well as sites of intergenerational connections such as lyrics, music videos, songs, and online discussions. I argue that storytelling through music not only bridges differences on problematic and sometimes highly polarized discourses engendered by selective remembering and forgetting of national history, but that it is also indispensable for reconciliation and peaceful coexistence. Tuning into young people’s music can touch us in ways that are real, immediate, and therapeutic, making it possible for our collective wounds to heal. I further demonstrate that as musical storytelling appeals to multiple generations, it can facilitate mediation, truce, and intergenerational understanding.

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My music, my voice: Musicality, culture and childhood in Vhavenda communities

Cited by 9 publications

References 29 publications

Using Vhavenda Traditional Entertainment to Curb HIV Spread in the Rural South African District

Using Vhavenda Traditional Entertainment to Curb HIV Spread in the Rural South African District

“I did not know what to expect”: Music as a means to achieving work-life balance

Storytelling through Popular Music: Social Memory, Reconciliation, and Intergenerational Healing in Oromia/Ethiopia

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