REIMAGINING SESOTHO SONGS IN THE 21ST CENTURY: A CASE OF TSHEPE MUSIC (original) (raw)

"Kea patlotsa hela lona," a Turn around on Basotho Hip-Hop Hits: A Case of Tshepe Music

This study reports on the transformation of famo (accordion) music into modern Sesotho hip-hop known as tshepe. Research in Basotho music seems to have focused mainly on famo music. Little has been done to explore the evolution of tshepe music and how it emerged as suitable to be named Basotho popular music. The current study aims to explore the nature of tshepe music and how it relies heavily on both American hip-hop and famo music. For the purpose of this study, one tshepe song by Ntate Stunna, aka Megahertz, featuring Phephela, known as "Kea patlotsa" is analysed. This is a case study of one song as it is not possible to discuss all tshepe songs in a paper of this nature. The study is framed within a socio-semantic framework. It is a qualitative research study guided by an interpretivist paradigm. The study reveals that as an emerging and growing genre, tshepe music has taken over as one of the most popular forms of music for Basotho and it is rooted within traditional genres such as famo and mangae (initiates' songs) in its composition. In this article, I propose that the promotion of tshepe music brings both the promotion of Sesotho as a language and the genre itself. For this reason, more research should be conducted to tackle different topics that will help in understanding and appreciating this music genre and its contribution towards preserving and promoting Sesotho as a language.

Lerato la favour: The Revival of Basotho Pride and Love for their Cultural Accordion Music

London Journals Press, 2020

Basotho accordion music has its roots from initiation schools where song composition skills were one of the traits the initiates were supposed to acquire. In these schools, the eloquent ones would sing about their achievements, and the experiences of their daily lives in general. The aim of this paper, therefore, is to explore one Basotho accordion song: Lerato la favour, using a case study research design. We purposely selected the song to achieve the research aims of the paper. The study is framed qualitatively using an eclectic framework where Africana womanism forms the basis of analysis, supplemented by patriarchy and psychoanalysis. We focus on analyzing the language used in the song. The analysis was deemed relevant to unpack the use of poetic language, the character of the poet as well as the themes inherent in the song. To generate data, we listened to the song several times, transcribing the lyrics then later translating the transcriptions to English. Following this, we conducted a systematic and descriptive analysis of the song using inductive thematic analysis. The findings of the study suggest that Basotho accordion music makes use of poetic language deviant from the language of everyday use. The study, therefore, recommends a need for further research on Basotho accordion music for the preservation of Sesotho and appreciation of indigenous knowledge systems.

Understanding the Meanings Represented in Ditolobonya Songs: Basotho Women's Experiences and Realities

International Journal of Linguistics, Literature and Translation , 2020

For a very long time, women have been silenced in expressing their feelings and talking about their experiences in their societies dominated by patriarchal ideologies. For this reason, Basotho women use ditolobonya songs (through pitiki) in an effort to deal with the abuse, ill-treatment and all the hardships they go through in their relationships and marriages. This study is necessitated by the discovery I made while listening to these songs that somehow they portray what Basotho women go through in their lives ranging from issues of love, appreciation of a partner, problems they encounter in their relationships, more especially their marriages, to how they are ill-treated by their in-laws as well as their own husbands. As a result, this triggered me to analyze ditolobonya songs to understand what Basotho women go through and how they express their feelings through these songs. The aim of this study therefore is to investigate the extent to which Basotho women use ditolobonya songs to narrate their life experiences. The present study therefore, is premised qualitatively on an Africana-feminism as its base for theoretical framework. For the purpose of this paper, I use Africana womanism as critiques came up on feminism for failing to address the experiences and realities of Africana women. I purposely selected five songs centered on the focus of my study and analyzed them using content analysis. The findings of the study indicate that Basotho women use ditolobonya songs to narrate the challenges they encounter in their marriages and advise one another.

Literary Meaning Implied in Stylistic Choices and Oral Nuances in Selected Bongo Flava Songs - Thiong'o Joseph Kanyi

This research explores the literary meaning encompassed in songs as a sub-genre of literature. It examines selected Bongo Flava songs that are chosen based on the assumption that Bongo Flava artists use language stylistically when writing the songs and in their style of performance. The objectives of the research were to explore literary meaning encompassed in the stylistic use of language at the lexical level and in the manner of singing. The design of the study was fieldworkbased research, with interviews and questionnaires being the mode of inquiry. Data was drawn from a population of over 200 participants comprised of students of literature, theatre and performance, and music as well as music producers, sound technicians, and fans of Bongo Flava songs. The population was sampled from the University of Nairobi,

Jangwa Wedding Songs Among the Manyika People of Zimbabwe: Cultural Meanings and Functions Conveyed Through Song Lyrics

Southern African Journal for Folklore Studies

Jangwa music is indigenous to the Manyika people of Zimbabwe. African societies carefully craft song texts for different contexts to serve a functional and educational purpose, and an investigation was undertaken to explore the ways in which this is embodied through jangwa wedding music. The aim of this article is to discuss the cultural meanings and functions conveyed through song lyrics amongst the Manyika people of Zimbabwe. Since the young generation no longer values traditional music being performed at weddings, 150 elderly Manyika people acted as key informants, performing jangwa songs of which they had extensive knowledge and experience.Data collection strategies included participant observation, in-depth interviews and focus-group discussions. Most jangwa wedding songs have a positive outlook and encouragement for the newly-weds, while other songs are more critical and warn of the possible pitfalls in marriage. Findings revealed that the majority of jangwa wedding songs focu...

INDIGENOUS COMMUNICATION FORMS IN AYINLA OMOWURA POPULAR MUSIC BACKGROUND TO THE STUDY

Studies on African indigenous music have revealed that African music artistes employ various communication forms in their music composition. This study investigated the inherent communication codes employed by Ayinla Omowura in his selected song-texts. Using speech codes theory, the study examined the psychological, sociological and rhetoric functions of these identified codes, and the meanings that constitute the codes. In addition, textual analysis was used on the extracts that were purposively selected from his albums. These extracts were transcribed and translated into English. However, findings reveal that the artiste's song-texts consist of communication codes that range from invective, ridicule, warning, chant, dirge to riddle codes. Also, these communication codes perform psychological function in how the artiste describes himself or others in his speech community; sociological function when depicting people's common values in his speech community, and rhetorical function when establishing beliefs and truth in riddles or proverbs in his speech community. Lastly, the study found that the communication codes are based on positive and negative meanings. In conclusion, this study shows that the indigenous communication codes identified in Ayinla Omowura's song-texts depict similar codes that are employed in most of African music genres by their artistes.

Cultural values in sangihe ethnic song lyrics "masamper": an anthropological linguistic study

Linguistics and Culture Review, 2021

This research focuses on traditional songs of ethnic community Sangihe Masamper that are usually performed in religion and or traditional ceremony, the problems discussed are what the expressions are used and what cultural meanings and values are included in those expressions. The objectives of this research are to describe: 1) the expressions, 2) the cultural meanings and values used in the songs of Masamper. The data are analyzed by using the theory of Koentjaraningrat (1979), Givon (2009) Fraenkel (1977), Kridalaksana ( 2008), and Pei and Gaynor (1980 ). The result of research are the expressions of the songs consist of Mawu, Ruata, Gengghona, Ghenggona, Langi, (God), anau sembau, Ku abe gagholokang’u u’waling liaghang gatinu, maning nahiu u pulangeng kai supato we senggesa-dedorongang mang sehimaneng kuhae ure mesasigesa, pirua, tembonang kawanua, Sangihe I kekendage, su pedarame and inang I amang. The cultural meanings are respect and honor to God, tight relationship, advice, ...

CULTURAL IDENTITY AND THE GENDER PERSPECTIVE IN THE MARAKWET SONGS NARRATIVES

In order to treat African indigenous literature in its own right, our main focus of attention was to look at the established cultural traditions and historical experiences, together with those aspects of the social and political life of the Marakwet which are the most helpful sources of our inspiration and techniques. We set out as to find out more about Marakwet as a community; their narrative and songs with an aim of establishing the gender connotations and under-tones in performance. An ethnographic study was done prior as outline in our course Research in African Oral Literature by Mr. Anthony Wasena (The Catholic University-GABA) on 7/7/2015 at Kapsowar and sampled traditional dancers,Kapkondot Traditional and Cultural Dancers, three elderly men and three elderly women each of specific place in this society respectively. An interpreter, Paul Sang, not forgetting was of great help on the material day as the research turned out successful. Marakwet Origin, Superstitions and Narrative and Songs is an example of a mythical tale and that neither simply retells a traditional mythnor completely updates it. Rather, the narrative and songs like this embed the myth and in abbreviated form within acontemporary story so that it both maintains some aspects of its own integrity and itrecapitulates and revitalizes itself in the new environment. Often the original myth is referencedby a key episode. In this case the myth is of Marakwet Origin and the key episodes being their culture as a whole, narrative and songs with their gender undertones. It also belongs to a further subset of mythic narratives whereby, when the traditional story isincorporated into the modern setting, the re-enactment has something to say about the gender perspective in the narrated culture. The analysis of Marakwet Narrative and songs critiques the subordinate position of women to men andcalls for their social empowerment. To do this, several strategies may be used; these includeextending the myth, re-applying it, or subverting it. The Marakwet Narrativeuses extension. The ancientstory of origin has little to say about women directly and so its reach must be increased. When this isdone, the narrative and songs will be geared towards opening space for equal gender celebration and re-telling of the same in deconstructive and constructive way. Marakwet narratives and songs, of course, more than a narration; it inhabits a contested social context. The narrative of Marakwet and songs function as a sacred story of origin to the clans Almoo, Cherangany (Sengwer or Kimaala), Endoow, Markweta (the dialect giving rise to the common name), Sombirir (Borokot) and Kiptaani.

NAMIBIAN ART SONG LITERATURE: AN EXPLORATION

2021

In Namibia, many students prepare for voice exams assessed by international institutions such as the Trinity College of London whereby they select songs from a Western repertory and none are of Namibian/African origin. The purpose was to explore the availability and creation of Namibian art song literature for voice students. The research aimed at determining whether Namibia has a canon of art songs, to investigate the need for art songs and the creation of it using Namibia proverbs and folksongs as a guide. A qualitative survey and action research methods were used to collect data whereby open-ended questionnaires were sent to voice teachers and students. The findings showed that the participants crave Namibian art songs and the creation of it will instil national pride, identity and confidence in the songs they study and prepare for exams. These will preserve Namibian cultures and languages, thus encouraging an appreciation of Namibian musical idioms and aesthetics. Therefore, the need to decolonise western art song repertory is required to gain an internationally recognised qualification in singing. Thirty art songs were composed and arranged to head-start an anthology. It is recommended that a Namibian art song anthology be started through seminars.

Transcending the Versification of Oraliture: Song- text as oral Performance among The Ilaje

Niyi Akingbe, 2013

Oraliture is a terminology that is often employed in the description of the various genres of oral literature such as proverbs, legends, short stories, traditional songs and rhymes, song-poems, historical narratives traditional symbols, images, oral performance, myths and other traditional stylistic devices. All these devices constitute vibrant appurtenances of oral narrative performance in Africa. Oral narrative performance is invariably situated within the domain of social communication, which brings together the raconteur/performer and the audience towards the realisation of communal entertainment. While the narrator/performer, plays the leading role in an oral performance, the audience's involvement and participation is realised through song, verbal/choral responses, gestures and, or instrumental/musical accompaniment. This oral practice usually take place at one time or the other in various African communities during the festival, ritual/religious procession 324 which ranges from story-telling, recitation of poems, song text and dancing. This paper is essentially concerned with the illustration of the use of songtext, as oral performance among the Ilaje, a burgeoning coastal sub-ethnic group, of the Yoruba race in the South Western Nigeria. The paper will further examine how patriotism, history, death and anti-social behaviours are evaluated through the use of songs among the Ilaje.