Uyadela 'Try Singers' (The great Try Singers)
- Tinote Dlamini and the try singers, Hugh Tracey
- Authors: Tinote Dlamini and the try singers , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Usutu Forest, Mbabane f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152617 , vital:39323 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR071-02
- Description: These singers came from the motor and transport section of the Usutu Forest Force, and singing mith great favour and action are most entertaining to watch. Mbube song.
- Full Text: false
- Date Issued: 1958
- Authors: Tinote Dlamini and the try singers , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Usutu Forest, Mbabane f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152617 , vital:39323 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR071-02
- Description: These singers came from the motor and transport section of the Usutu Forest Force, and singing mith great favour and action are most entertaining to watch. Mbube song.
- Full Text: false
- Date Issued: 1958
Pinda Zimshaya (Hit him again)
- Tinote Dlamini and the Try Singers, Hugh Tracey
- Authors: Tinote Dlamini and the Try Singers , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Usutu Forest, Mbabane f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152622 , vital:39324 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR071-03
- Description: These singers came from the motor and transport section of the Usutu Forest Force, and singing mith great favour and action are most entertaining to watch. Mbube song.
- Full Text: false
- Date Issued: 1958
- Authors: Tinote Dlamini and the Try Singers , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Usutu Forest, Mbabane f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152622 , vital:39324 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR071-03
- Description: These singers came from the motor and transport section of the Usutu Forest Force, and singing mith great favour and action are most entertaining to watch. Mbube song.
- Full Text: false
- Date Issued: 1958
Magumbo Mano Mhlaba (The four points of the compass)
- Tinote Dlamini and the try singers, Hugh Tracey
- Authors: Tinote Dlamini and the try singers , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Usutu Forest, Mbabane f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152608 , vital:39322 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR071-01
- Description: These singers came from the motor and transport section of the Usutu Forest Force, and singing mith great favour and action are most entertaining to watch. Mbube song.
- Full Text: false
- Date Issued: 1958
- Authors: Tinote Dlamini and the try singers , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Usutu Forest, Mbabane f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152608 , vital:39322 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR071-01
- Description: These singers came from the motor and transport section of the Usutu Forest Force, and singing mith great favour and action are most entertaining to watch. Mbube song.
- Full Text: false
- Date Issued: 1958
Uyadela Try Singers
- Dhlamini, Timoti, Timoti Dhlamini and The Try Singers, Composer unknown, Tracey, Hugh
- Authors: Dhlamini, Timoti , Timoti Dhlamini and The Try Singers , Composer unknown , Tracey, Hugh
- Date: 1958-03-25
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Usutu Forest f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/247466 , vital:51585 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT555-M7 , Research no. M2A22
- Description: Unaccompanied Mbube song.
- Full Text: false
- Date Issued: 1958-03-25
- Authors: Dhlamini, Timoti , Timoti Dhlamini and The Try Singers , Composer unknown , Tracey, Hugh
- Date: 1958-03-25
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Usutu Forest f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/247466 , vital:51585 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT555-M7 , Research no. M2A22
- Description: Unaccompanied Mbube song.
- Full Text: false
- Date Issued: 1958-03-25
Nyiti inkwekwezi (We are the star)
- Mushumbo Dlamini and the Star Brothers, Hugh Tracey
- Authors: Mushumbo Dlamini and the Star Brothers , Hugh Tracey
- Date: 1959
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Swazi (African people) , Folk music , Africa Eswatini Havelock Mine, N. Eswatini f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153187 , vital:39417 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR075-03
- Description: "We are the star when the sun sets and when sun rises." (i.e. "We shine by night and by day.") The words are in Swati, English and Xhosa. Many such Small groups of singers give themselves fanciful names mostly in English and not in their own vernacular. Topical song (Mbude style).
- Full Text: false
- Date Issued: 1959
- Authors: Mushumbo Dlamini and the Star Brothers , Hugh Tracey
- Date: 1959
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Swazi (African people) , Folk music , Africa Eswatini Havelock Mine, N. Eswatini f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153187 , vital:39417 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR075-03
- Description: "We are the star when the sun sets and when sun rises." (i.e. "We shine by night and by day.") The words are in Swati, English and Xhosa. Many such Small groups of singers give themselves fanciful names mostly in English and not in their own vernacular. Topical song (Mbude style).
- Full Text: false
- Date Issued: 1959
Magnificat
- Group Composition, Dlamini, Adelia, Dargie, Dave
- Authors: Group Composition , Dlamini, Adelia , Dargie, Dave
- Date: 1982-09-26
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa Eswatini Mzimpofu f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/275326 , vital:55031 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD054-07
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-09-26
- Authors: Group Composition , Dlamini, Adelia , Dargie, Dave
- Date: 1982-09-26
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa Eswatini Mzimpofu f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/275326 , vital:55031 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD054-07
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-09-26
Nostalgia in reimagining the past: the subjectivity of memory in the representation of history. A textual analysis of Rehad Desai's documentary films
- Authors: Dlamini, Philani Vincent
- Date: 2019
- Subjects: Documentary films -- South Africa , Nostalgia in motion pictures Nostalgia in mass media
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/45183 , vital:38261
- Description: South Africa occupies a unique space in terms of the decolonization of the continent of Africa. While massive projects of decolonization where happening across the continent, South Africa was subjected to a conservative and racialised project of segregation. This arrested development makes for an interesting anachronism in South Africa as disconcerting “Third- World” and “First-World” economies emerged creating an anomalous temporality. I was born just a month before the inimitable Ruth First was unceremoniously assassinated in Mozambique in 1982. While further South, one of the most underreported conflicts of apartheid South Africa was in its nascent stages no further than a kilometer away from my house. I am referring of course to the violent clashes between factions of both the Inkatha Freedom Party (IFP) and the African National Congress (ANC), played in the men’s hostel of the third largest township in the country, Umlazi, South of Durban. These would only come to have meaning to me later, when I was at university. I mention these cultural and perhaps socio-political artefacts in so far as they relate to the kind of environment that lead to this research enquiry. Which is to say that as social beings, we are in fact products of the things that affect the social environment that we exist in. This is not a new idea. What is particularly interesting for this enquiry is the eclecticism of the emblems that survive to shapes one’s own identity and perception of the world around them. Within the above stated mini-biography lies a complex matrix of emotions and extrapolated meanings mediated through a conflicted and negotiated understanding of what the social history of South Africa meant for my own personal history. This paper is an attempt to think through articulations of time as they are constituted by future-orientated subjectivities extending back to varied pasts. It does so by exploring a recent work of black South African self-writing, Jacob Dlamini’s Native Nostalgia (2009). Considering the text’s treatment of time, I argue that porous conceptions of temporality open up possibilities for self-enunciation. What Paul Gilroy has described as “the signs of sameness” (2000, 101). Meaning that these could be quantified and as such researchable and in fact applied across various cultural texts (including but not limited to film). The body of work from South African documentary filmmaker Rehad Desai provides an interesting case study to examine Jacob Dlamini’s thematic pre-occupations with nostalgia. Nostalgia here is used to see if such pre-occupations can be applied to a filmic body of work. Desai’s body of work is interesting to this enquiry because it almost exclusively deals with the temporalities of South Africa as “refracted through the prism of the past”. By this I mean Desai through his work appears to reflect on South Africa’s storied past as it affects current happenings. It is the intention of this paper to argue that Desai deals with his subject (the evolution of the South African political landscape) in similar terms to the way Jacob Dlamini explores the notion of reflective nostalgia.
- Full Text:
- Date Issued: 2019
- Authors: Dlamini, Philani Vincent
- Date: 2019
- Subjects: Documentary films -- South Africa , Nostalgia in motion pictures Nostalgia in mass media
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/45183 , vital:38261
- Description: South Africa occupies a unique space in terms of the decolonization of the continent of Africa. While massive projects of decolonization where happening across the continent, South Africa was subjected to a conservative and racialised project of segregation. This arrested development makes for an interesting anachronism in South Africa as disconcerting “Third- World” and “First-World” economies emerged creating an anomalous temporality. I was born just a month before the inimitable Ruth First was unceremoniously assassinated in Mozambique in 1982. While further South, one of the most underreported conflicts of apartheid South Africa was in its nascent stages no further than a kilometer away from my house. I am referring of course to the violent clashes between factions of both the Inkatha Freedom Party (IFP) and the African National Congress (ANC), played in the men’s hostel of the third largest township in the country, Umlazi, South of Durban. These would only come to have meaning to me later, when I was at university. I mention these cultural and perhaps socio-political artefacts in so far as they relate to the kind of environment that lead to this research enquiry. Which is to say that as social beings, we are in fact products of the things that affect the social environment that we exist in. This is not a new idea. What is particularly interesting for this enquiry is the eclecticism of the emblems that survive to shapes one’s own identity and perception of the world around them. Within the above stated mini-biography lies a complex matrix of emotions and extrapolated meanings mediated through a conflicted and negotiated understanding of what the social history of South Africa meant for my own personal history. This paper is an attempt to think through articulations of time as they are constituted by future-orientated subjectivities extending back to varied pasts. It does so by exploring a recent work of black South African self-writing, Jacob Dlamini’s Native Nostalgia (2009). Considering the text’s treatment of time, I argue that porous conceptions of temporality open up possibilities for self-enunciation. What Paul Gilroy has described as “the signs of sameness” (2000, 101). Meaning that these could be quantified and as such researchable and in fact applied across various cultural texts (including but not limited to film). The body of work from South African documentary filmmaker Rehad Desai provides an interesting case study to examine Jacob Dlamini’s thematic pre-occupations with nostalgia. Nostalgia here is used to see if such pre-occupations can be applied to a filmic body of work. Desai’s body of work is interesting to this enquiry because it almost exclusively deals with the temporalities of South Africa as “refracted through the prism of the past”. By this I mean Desai through his work appears to reflect on South Africa’s storied past as it affects current happenings. It is the intention of this paper to argue that Desai deals with his subject (the evolution of the South African political landscape) in similar terms to the way Jacob Dlamini explores the notion of reflective nostalgia.
- Full Text:
- Date Issued: 2019
Nostalgia in reimagining the past: the subjectivity of memory in the representation of history. a textual analysis of Rehad Desai's documentary films
- Authors: Dlamini, Philani Vincent
- Date: 2019
- Subjects: Documentary films
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/44591 , vital:38159
- Description: South Africa occupies a unique space in terms of the decolonization of the continent of Africa. While massive projects of decolonization where happening across the continent, South Africa was subjected to a conservative and racialised project of segregation. This arrested development makes for an interesting anachronism in South Africa as disconcerting “ThirdWorld” and “First-World” economies emerged creating an anomalous temporality. I was born just a month before the inimitable Ruth First was unceremoniously assassinated in Mozambique in 1982. While further South, one of the most underreported conflicts of apartheid South Africa was in its nascent stages no further than a kilometer away from my house. I am referring of course to the violent clashes between factions of both the Inkatha Freedom Party (IFP) and the African National Congress (ANC), played in the men’s hostel of the third largest township in the country, Umlazi, South of Durban. These would only come to have meaning to me later, when I was at university. I mention these cultural and perhaps socio-political artefacts in so far as they relate to the kind of environment that lead to this research enquiry. Which is to say that as social beings, we are in fact products of the things that affect the social environment that we exist in. This is not a new idea. What is particularly interesting for this enquiry is the eclecticism of the emblems that survive to shapes one’s own identity and perception of the world around them. Within the above stated mini-biography lies a complex matrix of emotions and extrapolated meanings mediated through a conflicted and negotiated understanding of what the social history of South Africa meant for my own personal history. This paper is an attempt to think through articulations of time as they are constituted by future-orientated subjectivities extending back to varied pasts. It does so by exploring a recent work of black South African self-writing, Jacob Dlamini’s Native Nostalgia (2009). Considering the text’s treatment of time, I argue that porous conceptions of temporality open up possibilities for self-enunciation. What Paul Gilroy has described as “the signs of sameness” (2000, 101). Meaning that these could be quantified and as such researchable and in fact applied across various cultural texts (including but not limited to film). The body of work from South African documentary filmmaker Rehad Desai provides an interesting case study to examine Jacob Dlamini’s thematic pre-occupations with nostalgia. Nostalgia here is used to see if such pre-occupations can be applied to a filmic body of work. Desai’s body of work is interesting to this enquiry because it almost exclusively deals with the temporalities of South Africa as “refracted through the prism of the past”. By this I mean Desai through his work appears to reflect on South Africa’s storied past as it affects current happenings. It is the intention of this paper to argue that Desai deals with his subject (the evolution of the South African political landscape) in similar terms to the way Jacob Dlamini explores the notion of reflective nostalgia.
- Full Text:
- Date Issued: 2019
- Authors: Dlamini, Philani Vincent
- Date: 2019
- Subjects: Documentary films
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/44591 , vital:38159
- Description: South Africa occupies a unique space in terms of the decolonization of the continent of Africa. While massive projects of decolonization where happening across the continent, South Africa was subjected to a conservative and racialised project of segregation. This arrested development makes for an interesting anachronism in South Africa as disconcerting “ThirdWorld” and “First-World” economies emerged creating an anomalous temporality. I was born just a month before the inimitable Ruth First was unceremoniously assassinated in Mozambique in 1982. While further South, one of the most underreported conflicts of apartheid South Africa was in its nascent stages no further than a kilometer away from my house. I am referring of course to the violent clashes between factions of both the Inkatha Freedom Party (IFP) and the African National Congress (ANC), played in the men’s hostel of the third largest township in the country, Umlazi, South of Durban. These would only come to have meaning to me later, when I was at university. I mention these cultural and perhaps socio-political artefacts in so far as they relate to the kind of environment that lead to this research enquiry. Which is to say that as social beings, we are in fact products of the things that affect the social environment that we exist in. This is not a new idea. What is particularly interesting for this enquiry is the eclecticism of the emblems that survive to shapes one’s own identity and perception of the world around them. Within the above stated mini-biography lies a complex matrix of emotions and extrapolated meanings mediated through a conflicted and negotiated understanding of what the social history of South Africa meant for my own personal history. This paper is an attempt to think through articulations of time as they are constituted by future-orientated subjectivities extending back to varied pasts. It does so by exploring a recent work of black South African self-writing, Jacob Dlamini’s Native Nostalgia (2009). Considering the text’s treatment of time, I argue that porous conceptions of temporality open up possibilities for self-enunciation. What Paul Gilroy has described as “the signs of sameness” (2000, 101). Meaning that these could be quantified and as such researchable and in fact applied across various cultural texts (including but not limited to film). The body of work from South African documentary filmmaker Rehad Desai provides an interesting case study to examine Jacob Dlamini’s thematic pre-occupations with nostalgia. Nostalgia here is used to see if such pre-occupations can be applied to a filmic body of work. Desai’s body of work is interesting to this enquiry because it almost exclusively deals with the temporalities of South Africa as “refracted through the prism of the past”. By this I mean Desai through his work appears to reflect on South Africa’s storied past as it affects current happenings. It is the intention of this paper to argue that Desai deals with his subject (the evolution of the South African political landscape) in similar terms to the way Jacob Dlamini explores the notion of reflective nostalgia.
- Full Text:
- Date Issued: 2019
Exploring options in reforming South African land ownership: opportunities for sharing land, labour and expertise
- Dlamini, Thula S, Verschoor, Aart-Jan, Fraser, Gavin C G
- Authors: Dlamini, Thula S , Verschoor, Aart-Jan , Fraser, Gavin C G
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69331 , vital:29500 , https://doi.org/10.1080/03031853.2013.770951
- Description: In many developing countries, land ownership remains a subject of contention. In South Africa, notwithstanding the strides that have been made to foster equitable land ownership, land reform policies have been unsuccessful in delivering land to the poor majority. Due to the nature of agriculture as a source of food production and national security, and the lack of farming skills and related competencies’ equilibrium, programmes intended to deliver land to black people have been inadequate in their reach. Whereas policy has emphasised the urgency of solving equity issues in land ownership, equally challenging has been finding the right set of programmes to achieve this without triggering a perennial land ownership squabble. After 18 years of democracy, a need remains to find a balance between continuity in food production and equitable redistribution of land in South African agriculture. In this paper, we argue that it is possible to achieve equitable and fair redistribution of land without inhibiting agricultural production, through land sharing. We show that sharing land could help fast-track the development of a farming skills and related competencies’ equilibrium between black and white farmers. The paper further demonstrates that the gains in land sharing far outweigh other programmes of land reform that have been used and suggested thus far.
- Full Text: false
- Date Issued: 2013
- Authors: Dlamini, Thula S , Verschoor, Aart-Jan , Fraser, Gavin C G
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69331 , vital:29500 , https://doi.org/10.1080/03031853.2013.770951
- Description: In many developing countries, land ownership remains a subject of contention. In South Africa, notwithstanding the strides that have been made to foster equitable land ownership, land reform policies have been unsuccessful in delivering land to the poor majority. Due to the nature of agriculture as a source of food production and national security, and the lack of farming skills and related competencies’ equilibrium, programmes intended to deliver land to black people have been inadequate in their reach. Whereas policy has emphasised the urgency of solving equity issues in land ownership, equally challenging has been finding the right set of programmes to achieve this without triggering a perennial land ownership squabble. After 18 years of democracy, a need remains to find a balance between continuity in food production and equitable redistribution of land in South African agriculture. In this paper, we argue that it is possible to achieve equitable and fair redistribution of land without inhibiting agricultural production, through land sharing. We show that sharing land could help fast-track the development of a farming skills and related competencies’ equilibrium between black and white farmers. The paper further demonstrates that the gains in land sharing far outweigh other programmes of land reform that have been used and suggested thus far.
- Full Text: false
- Date Issued: 2013
Systemic influence on Black South African adolescents' career development : adolescent and parental perspectives
- Authors: Collett, Gary Reece
- Date: 2010
- Subjects: Career development -- South Africa , Teenagers -- Vocational guidance , Adolescence , Parent and child
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:9863 , http://hdl.handle.net/10948/1513 , Career development -- South Africa , Teenagers -- Vocational guidance , Adolescence , Parent and child
- Description: Currently, no career theories exist that sufficiently explain the career development of South Africa’s diverse population groups. Consequently, South African researchers have been entirely dependent on international, western-informed career theories. While such theories have taken on a more ethnocentric complexion in recent times, they remain essentially decontextualised for South Africa. Furthermore, although the influence of family and the significant roles of parents have been theoretically acknowledged as critical influences in adolescent career development, there is still a considerable lack of research in South Africa on this topic. The present study therefore explored the perceptions of systemic influences on adolescent career development from the perspectives of both Black middle-class South African Grade 11 learners and their parents. The research was conceptualised within the Systems Theory Framework (STF) of career development and used its derivative instrument, the My Systems of Career Influences (MSCI, Adolescent). The present study utilised a qualitative research method, using answers derived from the MSCI (Adolescent) booklets to inform semi-structured interviews. The data analysis procedure involved the use of Interpretive Phenomenological Analysis to qualitatively analyse data obtained from the semistructured interviews. Findings revealed a number of influences within the individual system (personality, values, abilities), social system (adolescents’ parents and teachers) and societal-environmental system (financial support, the opportunity to work overseas, geographical location, job availability, and the location of universities) that were acknowledged as having an influence on the career development of South African Black middle class adolescents. Each of these findings were explored and unpacked under the four xii identified Interpretive Phenomenological Analysis (IPA) superordinate themes of Family Dynamics, Great Expectations, The Ghost of Apartheid and Coconuts Fall Far From the Tree. Lastly, the limitations of the present study, as well as recommendations for future research are discussed.
- Full Text:
- Date Issued: 2010
- Authors: Collett, Gary Reece
- Date: 2010
- Subjects: Career development -- South Africa , Teenagers -- Vocational guidance , Adolescence , Parent and child
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:9863 , http://hdl.handle.net/10948/1513 , Career development -- South Africa , Teenagers -- Vocational guidance , Adolescence , Parent and child
- Description: Currently, no career theories exist that sufficiently explain the career development of South Africa’s diverse population groups. Consequently, South African researchers have been entirely dependent on international, western-informed career theories. While such theories have taken on a more ethnocentric complexion in recent times, they remain essentially decontextualised for South Africa. Furthermore, although the influence of family and the significant roles of parents have been theoretically acknowledged as critical influences in adolescent career development, there is still a considerable lack of research in South Africa on this topic. The present study therefore explored the perceptions of systemic influences on adolescent career development from the perspectives of both Black middle-class South African Grade 11 learners and their parents. The research was conceptualised within the Systems Theory Framework (STF) of career development and used its derivative instrument, the My Systems of Career Influences (MSCI, Adolescent). The present study utilised a qualitative research method, using answers derived from the MSCI (Adolescent) booklets to inform semi-structured interviews. The data analysis procedure involved the use of Interpretive Phenomenological Analysis to qualitatively analyse data obtained from the semistructured interviews. Findings revealed a number of influences within the individual system (personality, values, abilities), social system (adolescents’ parents and teachers) and societal-environmental system (financial support, the opportunity to work overseas, geographical location, job availability, and the location of universities) that were acknowledged as having an influence on the career development of South African Black middle class adolescents. Each of these findings were explored and unpacked under the four xii identified Interpretive Phenomenological Analysis (IPA) superordinate themes of Family Dynamics, Great Expectations, The Ghost of Apartheid and Coconuts Fall Far From the Tree. Lastly, the limitations of the present study, as well as recommendations for future research are discussed.
- Full Text:
- Date Issued: 2010
A critical study in the management of the female adolescent voice
- Authors: Goosen, Gysbert Jacobus
- Date: 2014
- Subjects: Voice, Change of , Women singers
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/3438 , vital:20430
- Description: This treatise is a qualitative study that critically explores a current body of knowledge significant to the development of the female adolescent voice. The female adolescent voice is a field that is relatively under-researched in comparison to the male adolescent voice, although research in this regard has shown an increase in interest in the last two decades (Gackle 2011: 11). However, information related to the male adolescent voice still far outweighs the female adolescent voice. This study, through the use of six secondary objectives, identifies and highlights areas of the female adolescent voice development, where much of the current research lacks depth and insight. It therefore analyses and compares applicable literature in an attempt principally to contribute to a more structured and academic approach in this field. Insight into the auditory effects that occur during physiological mutation is further supported by investigating the functioning of the female voice registers and the respective influences of these on the different phases of vocal development of the female adolescent. The assistance and expertise of the conductor in this process, as well as in common areas such as voice classification, auditioning, voice placement, and repertoire selection are investigated to further consolidate and compare possible interventions for problems pertaining specifically to the female adolescent voice. The study concludes with a summary of the treatise and proposes suggestions for further study in this field.
- Full Text:
- Date Issued: 2014
- Authors: Goosen, Gysbert Jacobus
- Date: 2014
- Subjects: Voice, Change of , Women singers
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/3438 , vital:20430
- Description: This treatise is a qualitative study that critically explores a current body of knowledge significant to the development of the female adolescent voice. The female adolescent voice is a field that is relatively under-researched in comparison to the male adolescent voice, although research in this regard has shown an increase in interest in the last two decades (Gackle 2011: 11). However, information related to the male adolescent voice still far outweighs the female adolescent voice. This study, through the use of six secondary objectives, identifies and highlights areas of the female adolescent voice development, where much of the current research lacks depth and insight. It therefore analyses and compares applicable literature in an attempt principally to contribute to a more structured and academic approach in this field. Insight into the auditory effects that occur during physiological mutation is further supported by investigating the functioning of the female voice registers and the respective influences of these on the different phases of vocal development of the female adolescent. The assistance and expertise of the conductor in this process, as well as in common areas such as voice classification, auditioning, voice placement, and repertoire selection are investigated to further consolidate and compare possible interventions for problems pertaining specifically to the female adolescent voice. The study concludes with a summary of the treatise and proposes suggestions for further study in this field.
- Full Text:
- Date Issued: 2014
Religion, tradition and custom in a Zulu male vocal idiom
- Ndlovu, Caesar Maxwell Jeffrey
- Authors: Ndlovu, Caesar Maxwell Jeffrey
- Date: 1996
- Subjects: Songs, Zulu Zulu (African people) -- Social life and customs Zionist churches (Africa) -- South Africa -- Transkei Church music -- South Africa African indigenous/independent churches
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2650 , http://hdl.handle.net/10962/d1002315
- Description: The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
- Full Text:
- Date Issued: 1996
- Authors: Ndlovu, Caesar Maxwell Jeffrey
- Date: 1996
- Subjects: Songs, Zulu Zulu (African people) -- Social life and customs Zionist churches (Africa) -- South Africa -- Transkei Church music -- South Africa African indigenous/independent churches
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2650 , http://hdl.handle.net/10962/d1002315
- Description: The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
- Full Text:
- Date Issued: 1996
From physics to music: an analysis of the role of overtones in the improvement of choral tone
- Authors: Starker, Leonard Bonn
- Date: 2011
- Subjects: Choral singing , Choral singing -- Intonation , Choral singing -- Instruction and study , Voice culture
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8518 , http://hdl.handle.net/10948/d1012937
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
- Full Text:
- Date Issued: 2011
- Authors: Starker, Leonard Bonn
- Date: 2011
- Subjects: Choral singing , Choral singing -- Intonation , Choral singing -- Instruction and study , Voice culture
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8518 , http://hdl.handle.net/10948/d1012937
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
- Full Text:
- Date Issued: 2011
From physics to music: an analysis of the role of overtones in the improvement of choral tone
- Authors: Starker, Leonard Bonn
- Date: 2011
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8502 , http://hdl.handle.net/10948/1650
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
- Full Text:
- Date Issued: 2011
- Authors: Starker, Leonard Bonn
- Date: 2011
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8502 , http://hdl.handle.net/10948/1650
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
- Full Text:
- Date Issued: 2011
Self-regulation of the press in South Africa: analysis of selected cases
- Authors: Johaar, Odette
- Subjects: Press -- South Africa , Press and politics -- South Africa -- History -- 20th century , Freedom of the press -- South Africa , Newspapers , Journalism -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8423 , http://hdl.handle.net/10948/d1019752
- Description: The aim of this study is to present information to members of the South African press, academics in the field of journalism as well as individuals of the South African public who have a keen interest in printed communication in South Africa. The information presented discusses the practice of self-regulation in the South African press, through a study of the Press Council of South Africa (PCSA), the Press Ombudsman and the Press Appeals Panel that is a non-governmental organisation to regulate the press in South Africa. This study will include an analysis of the functions of the Press Ombudsman, the PCSA, the Press Appeals Panel, as well as the role of the constitution of the PSCA and the South African Press Code, which the PCSA uses as a guideline for publications that subscribe to it. Furthermore, a study into the complaints procedure and the determination of the outcome will be done in addition to the sanctions imposed on publications and journalists in breach of the Press Code as well as the acknowledgement given to individuals who have lodged a complaint to the Press Ombudsman, and the article or publication they have complained against had been in breach of the press code. In addition, this study will analyse the outcomes of selected complaints submitted to the PCSA as well as an analysis of submissions made to the PCSA task team and the Press Freedom Commission, an independent commission that was set up to research the regulations of the press. It was found that the PCSA strengthened the system of regulation with the help of the public. It is apparent that the organisation took into account many of the points raised in public submissions. Although the system is self-regulatory it is important to take note that it values and upholds the views of the public. Although though the sanctioning of wayward newspapers was not severe, it had become more defined in the amended code. A point of concern that did not improve over time is the time frame that the Press Ombudsman‟s Office took to resolve the disputes. The delays caused in some disputes were caused by loop holes in the press code and complaints procedure as well as defiant journalists. The PCSA is currently being restructured. As a society changes, the press industry needs to adapt to its needs. This means that the press code will have to constantly be developed to suit society‟s rapidly changing needs. The PCSA has attempted to meet those needs by constantly changing to ensure that the regulatory structure remains relevant.
- Full Text:
- Authors: Johaar, Odette
- Subjects: Press -- South Africa , Press and politics -- South Africa -- History -- 20th century , Freedom of the press -- South Africa , Newspapers , Journalism -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8423 , http://hdl.handle.net/10948/d1019752
- Description: The aim of this study is to present information to members of the South African press, academics in the field of journalism as well as individuals of the South African public who have a keen interest in printed communication in South Africa. The information presented discusses the practice of self-regulation in the South African press, through a study of the Press Council of South Africa (PCSA), the Press Ombudsman and the Press Appeals Panel that is a non-governmental organisation to regulate the press in South Africa. This study will include an analysis of the functions of the Press Ombudsman, the PCSA, the Press Appeals Panel, as well as the role of the constitution of the PSCA and the South African Press Code, which the PCSA uses as a guideline for publications that subscribe to it. Furthermore, a study into the complaints procedure and the determination of the outcome will be done in addition to the sanctions imposed on publications and journalists in breach of the Press Code as well as the acknowledgement given to individuals who have lodged a complaint to the Press Ombudsman, and the article or publication they have complained against had been in breach of the press code. In addition, this study will analyse the outcomes of selected complaints submitted to the PCSA as well as an analysis of submissions made to the PCSA task team and the Press Freedom Commission, an independent commission that was set up to research the regulations of the press. It was found that the PCSA strengthened the system of regulation with the help of the public. It is apparent that the organisation took into account many of the points raised in public submissions. Although the system is self-regulatory it is important to take note that it values and upholds the views of the public. Although though the sanctioning of wayward newspapers was not severe, it had become more defined in the amended code. A point of concern that did not improve over time is the time frame that the Press Ombudsman‟s Office took to resolve the disputes. The delays caused in some disputes were caused by loop holes in the press code and complaints procedure as well as defiant journalists. The PCSA is currently being restructured. As a society changes, the press industry needs to adapt to its needs. This means that the press code will have to constantly be developed to suit society‟s rapidly changing needs. The PCSA has attempted to meet those needs by constantly changing to ensure that the regulatory structure remains relevant.
- Full Text:
Musicians before or after a rehearsal
- Ngqawana, Zim, Dlamini, Monwabisi, Hatana, Richard, Faku, Feya, Henry, Tito, Dudley, Count, Judgee, Unidentified
- Authors: Ngqawana, Zim , Dlamini, Monwabisi , Hatana, Richard , Faku, Feya , Henry , Tito, Dudley , Count, Judgee , Unidentified
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/211985 , vital:47679 , RHPC-015
- Description: Zim Ngqawana, Monwabisi Dlamini, Richard Hatana, Feya Faku, Henry, Dudley Tito, Whytie Kuluman, Count Judge. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
- Authors: Ngqawana, Zim , Dlamini, Monwabisi , Hatana, Richard , Faku, Feya , Henry , Tito, Dudley , Count, Judgee , Unidentified
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/211985 , vital:47679 , RHPC-015
- Description: Zim Ngqawana, Monwabisi Dlamini, Richard Hatana, Feya Faku, Henry, Dudley Tito, Whytie Kuluman, Count Judge. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
Musicians rehearsing at Avenue A worskhop
- Dlamini, Monwabisi, Daku, Joe, Ngqawana, Zim, Faku, Feya
- Authors: Dlamini, Monwabisi , Daku, Joe , Ngqawana, Zim , Faku, Feya
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/211940 , vital:47675 , RHPC-011
- Description: Musicians rehearsing in Avenue A workshop from left to right, Monwabisi Dlamini, pianist; Joe Daku, vocalist, Zim Ngqawana, alto sax; Feya Faku, trumpet. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
- Authors: Dlamini, Monwabisi , Daku, Joe , Ngqawana, Zim , Faku, Feya
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/211940 , vital:47675 , RHPC-011
- Description: Musicians rehearsing in Avenue A workshop from left to right, Monwabisi Dlamini, pianist; Joe Daku, vocalist, Zim Ngqawana, alto sax; Feya Faku, trumpet. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
Musicians rehearsing at Avenue A worskhop
- Dlamini, Monwabisi, Daku, Joe, Ngqawana, Zim, Faku, Feya
- Authors: Dlamini, Monwabisi , Daku, Joe , Ngqawana, Zim , Faku, Feya
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/125957 , vital:35838 , RHPC-011
- Description: Musicians rehearsing in Avenue A workshop from left to right, Monwabisi Dlamini, pianist; Joe Daku, vocalist, Zim Ngqawana, alto sax; Feya Faku, trumpet. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
- Authors: Dlamini, Monwabisi , Daku, Joe , Ngqawana, Zim , Faku, Feya
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/125957 , vital:35838 , RHPC-011
- Description: Musicians rehearsing in Avenue A workshop from left to right, Monwabisi Dlamini, pianist; Joe Daku, vocalist, Zim Ngqawana, alto sax; Feya Faku, trumpet. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
Musicians before or after a rehearsal
- Ngqawana, Zim, Dlamini, Monwabisi, Hatana, Richard, Faku, Feya, Henry, Tito, Dudley, Count, Judgee, Unidentified
- Authors: Ngqawana, Zim , Dlamini, Monwabisi , Hatana, Richard , Faku, Feya , Henry , Tito, Dudley , Count, Judgee , Unidentified
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/125987 , vital:35842 , RHPC-015
- Description: Zim Ngqawana, Monwabisi Dlamini, Richard Hatana, Feya Faku, Henry, Dudley Tito, Whytie Kuluman, Count Judge. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
- Authors: Ngqawana, Zim , Dlamini, Monwabisi , Hatana, Richard , Faku, Feya , Henry , Tito, Dudley , Count, Judgee , Unidentified
- Date: 19--?
- Subjects: uncatalogued
- Type: Image
- Identifier: http://hdl.handle.net/10962/125987 , vital:35842 , RHPC-015
- Description: Zim Ngqawana, Monwabisi Dlamini, Richard Hatana, Feya Faku, Henry, Dudley Tito, Whytie Kuluman, Count Judge. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
- Full Text: false
- Date Issued: 19--?
Pinda Zimshaya
- Dhlamini, Timoti, Timoti Dhlamini and The Try Singers, Composer unknown, Tracey, Hugh
- Authors: Dhlamini, Timoti , Timoti Dhlamini and The Try Singers , Composer unknown , Tracey, Hugh
- Date: 1958-03-25
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Usutu Forest f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/247481 , vital:51586 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT555-M7 , Research no. M2A23
- Description: Unaccompanied Mbube song.
- Full Text: false
- Date Issued: 1958-03-25
- Authors: Dhlamini, Timoti , Timoti Dhlamini and The Try Singers , Composer unknown , Tracey, Hugh
- Date: 1958-03-25
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Usutu Forest f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/247481 , vital:51586 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT555-M7 , Research no. M2A23
- Description: Unaccompanied Mbube song.
- Full Text: false
- Date Issued: 1958-03-25