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Enculturation and adaptation: a practice-led investigation into the history and contemporary transformation of the Bahananwa harepa

  • Authors: Madiba, Elijah Moleseng
  • Date: 2025-04-02
  • Subjects: Enculturation , Gananwa (African people) , Gananwa dialect , Northern Sotho language , Stringed instruments South Africa Limpopo , Cultural identity , Pedi (African people)
  • Language: English
  • Type: Academic theses , Doctoral theses , text
  • Identifier: http://hdl.handle.net/10962/479607 , vital:78328 , DOI 10.21504/10962/479607
  • Description: This thesis investigates the cultural and musical transformations of the harepa, a stringed instrument initially introduced as the autoharp by Christian missionaries in the late nineteenth century, now deeply embedded within the Basotho ba Lebowa community in Limpopo, South Africa. Through an interdisciplinary approach that blends historical ethnography with practice-led research, this thesis explores the harepa's negotiation of identity amidst the cultural shifts and modernisation affecting the community. The musical output of the harepa showcases a unique hybridity that fuses Basotho ba Lebowa traditions with Western musical influences. The aim of this research is to document the harepa instrument, analyse its music and transformation processes, highlight the musical history of research partners and emphasise the unique tunings which are distinct from Western standards. Employing methodologies that integrate participant observation, ethnographic interviews, and direct musical practice, the research engages with local musicians to understand the contemporary relevance of the harepa and its role in sustaining cultural heritage. It examines shifts in musical practices, the decline of traditional uses of the harepa, and efforts towards its revitalisation, including documenting musical repertoires and analysing performance practices. The findings highlight a complex narrative of enculturation, adaptation, and resistance, revealing the resilience of cultural identity through unique tuning systems that contrast sharply with Western musical paradigms. African tuning practices, characterised by their flexibility and reliance on auditory perception, challenge the adequacy of Western tuning methodologies. This study also investigates the potential of sampling as a method for the sonic representation of African music, advocating for a more culturally sensitive framework that respects the diversity of global musical traditions. By focusing on this localised musical phenomenon, the study illustrates broader cultural preservation and innovation dynamics within Limpopo's Basotho ba Lebowa community. It calls for ongoing dialogue and research to develop methodologies that reflect the unique cultural contexts of musical traditions worldwide. Ultimately, this work underscores the importance of engaged, practice-led research in documenting and revitalising endangered musical cultures in the face of globalisation and cultural homogenisation. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
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  • Date Issued: 2025-04-02

Adya moreyana

E kenia matsolo

  • Authors: Group of 10 young Pedi initiates (girls) , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189149 , vital:44821 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-07
  • Description: Sung by the girls after the initiation ceremonies are over. They dress up in skins and wear small mirrors and go about among the houses and people, dancing and asking for presents. The initiation school lasts for two months and follows much the same lines as those of the Tswana. Many young Africans from Kenya southwards use metal whistles for their dances, blowing them continously as in this item; the result is deafening to the audience but apparently most enjoyable to the young who seem to be impervious to the noise. Three girls post-initiation song with 2 drums, leg rattles and whistles
  • Full Text: false
  • Date Issued: 1963

E lesang goloya

  • Authors: Group of 10 young Pedi initiates (girls) , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189141 , vital:44820 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-06
  • Description: Sung by the girls after the initiation ceremonies are over. They dress up in skins and wear small mirrors and go about among the houses and people, dancing and asking for presents. The initiation school lasts for two months and follows much the same lines as those of the Tswana. Many young Africans from Kenya southwards use metal whistles for their dances, blowing them continously as in this item; the result is deafening to the audience but apparently most enjoyable to the young who seem to be impervious to the noise. "Stop bewitching people. Kerishe is gone." Kerishe is the name of a man who was driven away from Thabakgolo because it was thought that he disturbed (bewitched) people. Three girls post-initiation song with 2 drums, leg rattles and whistles
  • Full Text: false
  • Date Issued: 1963

Elele Pelepele uile luatle

Eya - eya, mani Boi

Homolela ngeka

Homolela ngwanaka

Iya-e

Ke ke mmela ke ke

  • Authors: Mashego, Barney (Chief) , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/188684 , vital:44776 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-03
  • Description: This district is plagued, they say, by men who come home from employment eleswhere, eat the food of their relatives until it is all finished without doing a stroke of work to help, and then disappear from pastures new, leaving their families starving. "The day we pounded earth, pounding it for the bearded. Those who come in putting their beards in the food." (i.e. doing no work to produce it, but eating it only). The meaning behind this song is that the lazy men desearve only pounded earth, not good grain to eat. Pounding song with mortar and three pestles
  • Full Text: false
  • Date Issued: 1963

Keng se

Lebelela moo. Part I and II

  • Authors: Group of 8 Pedi women and 1 man , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189159 , vital:44822 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-08
  • Description: The drums are made in the district of Marula trees. "Look here, I am waiting for a parcel. It is the blood of my husband, my husband Tshimisdo. My husband Tshimisdo, it comes with the train." The parcel is sent by her husband who is working away from home. The parcel is the result of the 'sweet of his brow', his 'blood' as they say. Party dance for men and women with two drums, small drum Morupa o munyane, large drum Morupa o mugulo and a rattle
  • Full Text: false
  • Date Issued: 1963

Mabolele kgoro

Makwidi

  • Authors: Mapulana men and women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/188104 , vital:44723 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR194-06
  • Description: There is a song first, then a declamation by Williamu Lebyane at 2m 30s with he Siyavuma responses followed by a short song again at 5m 10s. The shricking and general noise all contributes to the pleasureable hysteria associated with this kind of activity. "Makwidi (Bulbul) perch on the bird lime so I can catch you." Bird lime is made from the fruit of a certain tree parasite which is usually found on the marula tree. It is first rolled and masticated in the month and then rolled onto a twig. The Bulbul referred to is the one numbered R-544 in the Roberts 'Birds of South Africa' and is widely distributed throughout Southern Africa. Divination - Siyavuma - game with 3 drums, open, pegged, single head
  • Full Text: false
  • Date Issued: 1963

Mawilu wei ushala limani

  • Authors: Mapulana men and women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/188454 , vital:44755 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR194-10
  • Description: Matwilu is a man whose wife has deserted him and the people, sympathising with him, suggest he takes another one. The personal problems of well known people in the community are frequently aired in this way, thus creating a certain public opinion and bringing pressure to bear upon individuals to conform to the local pattern of correct behaviour. Drinking song with one drum
  • Full Text: false
  • Date Issued: 1963

Mokgowe

Ngaka

O-o Mashego

  • Authors: Group of 10 young Pedi initiates (girls) , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189132 , vital:44819 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-05
  • Description: Sung by the girls after the initiation ceremonies are over. They dress up in skins and wear small mirrors and go about among the houses and people, dancing and asking for presents. The initiation school lasts for two months and follows much the same lines as those of the Tswana. Many young Africans from Kenya southwards use metal whistles for their dances, blowing them continously as in this item; the result is deafening to the audience but apparently most enjoyable to the young who seem to be impervious to the noise. "Oh-oh Mashego has won. He has won by driving the wizards away." Three girls post-initiation song with 2 drums, leg rattles and whistles
  • Full Text: false
  • Date Issued: 1963

Segoko mmawelele we!

Shiwana Mpetasi

  • Authors: Mtungwa, Elias , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189367 , vital:44841 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-15
  • Description: "Tu shalala" is the expression of delight when someone looks in through the door and sees a pot full of good food cookign and anticipates the meal. The singer of these two songs, with his bow, is well known in the district as an entertainer and beggar. He remarks the end of the second tune that he was too tired to go on. His Chitende bow is virtually the same as the Zulu Makweyana. Here in Pedi country it is played by men while in Zululand it is played only by women, and occasionally by young herd boys. Minstrel song with Chitende braced bow, resonated.
  • Full Text: false
  • Date Issued: 1963
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