Fundal pressure during the second stage of labour
- Hofmeyr, Georges Justus, Vogel, Joshua. P, Cuthbert, Anna, Singata, Mandisa
- Authors: Hofmeyr, Georges Justus , Vogel, Joshua. P , Cuthbert, Anna , Singata, Mandisa
- Date: 03-2017
- Subjects: South Africa Pregnancy Computer File
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/11260/5766 , vital:44640 , https://DOI:10.1002/14651858.CD006067.pub3
- Description: Background Fundal pressure during the second stage of labour (also known as the 'Kristeller manoeuvre') involves application of manual pressure to the uppermost part of the uterus directed towards the birth canal, in an attempt to assist spontaneous vaginal birth and avoid prolonged second stage orthe need for operative birth. Fundal pressure has also been applied using an inflatable belt. Fundal pressure is widely used, however methods of its use vary widely. Despite strongly held opinions in favour of and against the use of fundal pressure, there is limited evidence regarding its maternal and neonatal benefits and harms. There is a need for objective evaluation of the eGectiveness and safety of fundal pressure in the second stage of labour. Objectives To determine if fundal pressure is eGective in achieving spontaneous vaginal birth, and preventing prolonged second stage or the need for operative birth, and to explore maternal and neonatal adverse eGects related to fundal pressure. Search methods We searched Cochrane Pregnancy and Childbirth's Trials Register (30 November 2016) and reference lists of retrieved studies. Selection criteria Randomised and quasi-randomised controlled trials of fundal pressure (manual or by inflatable belt) versus no fundal pressure in women in the second stage of labour with singleton cephalic presentation. Data collection and analysis Two or more review authors independently assessed potential studies for inclusion and quality. We extracted data using a pre-designed form. We entered data into Review Manager 5 soAware and checked for accuracy. Main results Nine trials are included in this updated review. Five trials (3057 women) compared manual fundal pressure versus no fundal pressure. Four trials (891 women) compared fundal pressure by means of an inflatable belt versus no fundal pressure. It was not possible to blind women and staG to this intervention. We assessed two trials as being at high risk of attrition bias and another at high risk of reporting bias. All other trials were low or unclear for other risk of bias domains. Most of the trials had design limitations. Heterogeneity was high for the majority of outcomes. Manual fundal pressure versus no fundal pressure Manual fundal pressure was not associated with changes in: spontaneous vaginal birth within a specified time (risk ratio (RR) 0.96, 95% confidence interval (CI) 0.71 to 1.28; 120 women; 1 trial; very low-quality evidence), instrumental births (RR 3.28, 95% CI 0.14 to 79.65; 197 women; 1 trial), caesarean births (RR 1.10, 95% CI 0.07 to 17.27; 197 women; 1 trial), operative birth (average RR 0.66, 95% CI 0.12 to 3.55; 317 women; 2 studies; I2 = 43%; Tau2 = 0.71; very low-quality evidence), duration of second stage (mean diGerence (MD) -0.80 minutes, 95% CI -3.66 to 2.06 minutes; 194 women; 1 study; very low-quality evidence), low arterial cord pH in newborn babies (RR 1.07, 95% CI 0.72 to 1.58; 297 women; 2 trials; very low-quality evidence), or Apgar scores less than seven at five minutes (average RR 4.48, 95% CI 0.28 to 71.45; 2759 infants; 4 trials; I2 = 89%; Tau2 = 3.55; very low-quality evidence). More women who received manual fundal pressure had cervical tears than in the control group (RR 4.90, 95% CI 1.09 to 21.98; 295 women; 1 trial). No neonatal deaths occurred in either of the two studies reporting this outcome (very low-quality evidence). No trial reported the outcome severe maternal morbidity or death. Fundal pressure by inflatable belt versus no fundal pressure Fundal pressure by inflatable belt did not reduce the number of women havinginstrumental births (average RR 0.73, 95% CI 0.52 to 1.02; 891 women; 4 trials; I2 = 52%; Tau2 = 0.05) or operative births (average RR 0.62, 95% CI 0.38 to 1.01; 891 women; 4 trials; I2 = 78%; Tau2 = 0.14; very low-quality evidence). Heterogeneity was high for both outcomes. Duration of second stage was reported in two trials, which both showed that inflatable belts shortened duration of labour in nulliparous women (average MD -50.80 minutes, 95% CI -94.85 to -6.74 minutes; 253 women; 2 trials; I2 = 97%; Tau2 = 975.94; very low-quality evidence). No data on this outcome were available for multiparous women. The inflatable belt did not make any diGerence to rates of caesarean births (average RR 0.56, 95% CI 0.14 to 2.26; 891 women; 4 trials; I2 = 70%; Tau2 = 0.98), low arterial cord pHin newborn babies (RR 0.47, 95% CI 0.09 to 2.55; 461 infants; 1 trial; low-quality evidence), or Apgar scores less than seven atfive minutes (RR 4.62, 95% CI 0.22 to 95.68; 500 infants; 1 trial; very low-quality evidence). Third degree perinealtears were increased in the inflatable belt group (RR 15.69, 95% CI 2.10 to 117.02; 500 women; 1 trial). Spontaneous vaginal birth within a specified time, neonatal death, andsevere maternal morbidity or death were not reported in any trial. Authors' conclusions There is insuGicient evidence to draw conclusions on the beneficial or harmful eGects of fundal pressure, either manually or by inflatable belt. Fundal pressure by an inflatable belt during the second stage of labour may shorten duration of second stage for nulliparous women, and lower rates of operative birth. However, existing studies are small and their generalizability is uncertain. There is insuGicient evidence regarding safety for the baby. There is no evidence on the use of fundal pressure in specific clinical settings such as inability of the mother to bear down due to exhaustion or unconsciousness. There is currently insuGicient evidence for the routine use of fundal pressure by any method on women in the second stage of labour. Because of current widespread use of the procedure and the potential for use in settings where other methods of assisted birth are not available, further good quality trials are needed. Further evaluation in other groups of women (such as multiparous women) will also be required. Future research should describe in detail how fundal pressure was applied and consider safety of the unborn baby, perineal outcomes, longer-term maternal and infant outcomes and maternal satisfaction.
- Full Text:
- Date Issued: 03-2017
- Authors: Hofmeyr, Georges Justus , Vogel, Joshua. P , Cuthbert, Anna , Singata, Mandisa
- Date: 03-2017
- Subjects: South Africa Pregnancy Computer File
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/11260/5766 , vital:44640 , https://DOI:10.1002/14651858.CD006067.pub3
- Description: Background Fundal pressure during the second stage of labour (also known as the 'Kristeller manoeuvre') involves application of manual pressure to the uppermost part of the uterus directed towards the birth canal, in an attempt to assist spontaneous vaginal birth and avoid prolonged second stage orthe need for operative birth. Fundal pressure has also been applied using an inflatable belt. Fundal pressure is widely used, however methods of its use vary widely. Despite strongly held opinions in favour of and against the use of fundal pressure, there is limited evidence regarding its maternal and neonatal benefits and harms. There is a need for objective evaluation of the eGectiveness and safety of fundal pressure in the second stage of labour. Objectives To determine if fundal pressure is eGective in achieving spontaneous vaginal birth, and preventing prolonged second stage or the need for operative birth, and to explore maternal and neonatal adverse eGects related to fundal pressure. Search methods We searched Cochrane Pregnancy and Childbirth's Trials Register (30 November 2016) and reference lists of retrieved studies. Selection criteria Randomised and quasi-randomised controlled trials of fundal pressure (manual or by inflatable belt) versus no fundal pressure in women in the second stage of labour with singleton cephalic presentation. Data collection and analysis Two or more review authors independently assessed potential studies for inclusion and quality. We extracted data using a pre-designed form. We entered data into Review Manager 5 soAware and checked for accuracy. Main results Nine trials are included in this updated review. Five trials (3057 women) compared manual fundal pressure versus no fundal pressure. Four trials (891 women) compared fundal pressure by means of an inflatable belt versus no fundal pressure. It was not possible to blind women and staG to this intervention. We assessed two trials as being at high risk of attrition bias and another at high risk of reporting bias. All other trials were low or unclear for other risk of bias domains. Most of the trials had design limitations. Heterogeneity was high for the majority of outcomes. Manual fundal pressure versus no fundal pressure Manual fundal pressure was not associated with changes in: spontaneous vaginal birth within a specified time (risk ratio (RR) 0.96, 95% confidence interval (CI) 0.71 to 1.28; 120 women; 1 trial; very low-quality evidence), instrumental births (RR 3.28, 95% CI 0.14 to 79.65; 197 women; 1 trial), caesarean births (RR 1.10, 95% CI 0.07 to 17.27; 197 women; 1 trial), operative birth (average RR 0.66, 95% CI 0.12 to 3.55; 317 women; 2 studies; I2 = 43%; Tau2 = 0.71; very low-quality evidence), duration of second stage (mean diGerence (MD) -0.80 minutes, 95% CI -3.66 to 2.06 minutes; 194 women; 1 study; very low-quality evidence), low arterial cord pH in newborn babies (RR 1.07, 95% CI 0.72 to 1.58; 297 women; 2 trials; very low-quality evidence), or Apgar scores less than seven at five minutes (average RR 4.48, 95% CI 0.28 to 71.45; 2759 infants; 4 trials; I2 = 89%; Tau2 = 3.55; very low-quality evidence). More women who received manual fundal pressure had cervical tears than in the control group (RR 4.90, 95% CI 1.09 to 21.98; 295 women; 1 trial). No neonatal deaths occurred in either of the two studies reporting this outcome (very low-quality evidence). No trial reported the outcome severe maternal morbidity or death. Fundal pressure by inflatable belt versus no fundal pressure Fundal pressure by inflatable belt did not reduce the number of women havinginstrumental births (average RR 0.73, 95% CI 0.52 to 1.02; 891 women; 4 trials; I2 = 52%; Tau2 = 0.05) or operative births (average RR 0.62, 95% CI 0.38 to 1.01; 891 women; 4 trials; I2 = 78%; Tau2 = 0.14; very low-quality evidence). Heterogeneity was high for both outcomes. Duration of second stage was reported in two trials, which both showed that inflatable belts shortened duration of labour in nulliparous women (average MD -50.80 minutes, 95% CI -94.85 to -6.74 minutes; 253 women; 2 trials; I2 = 97%; Tau2 = 975.94; very low-quality evidence). No data on this outcome were available for multiparous women. The inflatable belt did not make any diGerence to rates of caesarean births (average RR 0.56, 95% CI 0.14 to 2.26; 891 women; 4 trials; I2 = 70%; Tau2 = 0.98), low arterial cord pHin newborn babies (RR 0.47, 95% CI 0.09 to 2.55; 461 infants; 1 trial; low-quality evidence), or Apgar scores less than seven atfive minutes (RR 4.62, 95% CI 0.22 to 95.68; 500 infants; 1 trial; very low-quality evidence). Third degree perinealtears were increased in the inflatable belt group (RR 15.69, 95% CI 2.10 to 117.02; 500 women; 1 trial). Spontaneous vaginal birth within a specified time, neonatal death, andsevere maternal morbidity or death were not reported in any trial. Authors' conclusions There is insuGicient evidence to draw conclusions on the beneficial or harmful eGects of fundal pressure, either manually or by inflatable belt. Fundal pressure by an inflatable belt during the second stage of labour may shorten duration of second stage for nulliparous women, and lower rates of operative birth. However, existing studies are small and their generalizability is uncertain. There is insuGicient evidence regarding safety for the baby. There is no evidence on the use of fundal pressure in specific clinical settings such as inability of the mother to bear down due to exhaustion or unconsciousness. There is currently insuGicient evidence for the routine use of fundal pressure by any method on women in the second stage of labour. Because of current widespread use of the procedure and the potential for use in settings where other methods of assisted birth are not available, further good quality trials are needed. Further evaluation in other groups of women (such as multiparous women) will also be required. Future research should describe in detail how fundal pressure was applied and consider safety of the unborn baby, perineal outcomes, longer-term maternal and infant outcomes and maternal satisfaction.
- Full Text:
- Date Issued: 03-2017
SACCAWU - Summer School
- SACCAWU
- Authors: SACCAWU
- Date: 1998
- Subjects: SACCAWU
- Language: English
- Type: text
- Identifier: http://hdl.handle.net/10962/113880 , vital:33841
- Description: The publication of this Green Paper is the first step taken by the Department of Labour in developing new legislation to regulate minimum employment standards in South Africa. The Department believes that the Basic Conditions of Employment Act (BCEA) 3 of 1933 and the Wage Act 5 of 1957 should be revised and replaced by a single law regulating statutory employment standards. This is needed to meet the country's social, political and economic goals as reflected in the Reconstruction and Development Programme (RDP) and adopted by the Government of National Unity. The purpose of the Green Paper is to promote a debate on the development of the law. It contains proposals and options for discussion. It also briefly describes important aspects of these Acts for people who may not be familiar with their contents. The Green Paper has been prepared by the Directorate: Minimum Standards of the Department of Labour which is responsible for enforcing the BCEA and the Wage Act. It does not represent an official government view. It has not been endorsed by the Cabinet. It awaits the outcome on certain issues of the Report of the Comprehensive Labour Market Commission. The Green Paper will be submitted to the social partners in the National Economic Development and Labour Advisory Council (NEDLAC) for consideration. It is published to obtain public comment and will be circulated to other government agencies to obtain their views. The Green Paper concentrates on the principles that will form the basis for the development of the new legislation. It draws the attention of the public and the social partners to aspects of the existing laws that often do not receive adequate attention.
- Full Text:
- Date Issued: 1998
- Authors: SACCAWU
- Date: 1998
- Subjects: SACCAWU
- Language: English
- Type: text
- Identifier: http://hdl.handle.net/10962/113880 , vital:33841
- Description: The publication of this Green Paper is the first step taken by the Department of Labour in developing new legislation to regulate minimum employment standards in South Africa. The Department believes that the Basic Conditions of Employment Act (BCEA) 3 of 1933 and the Wage Act 5 of 1957 should be revised and replaced by a single law regulating statutory employment standards. This is needed to meet the country's social, political and economic goals as reflected in the Reconstruction and Development Programme (RDP) and adopted by the Government of National Unity. The purpose of the Green Paper is to promote a debate on the development of the law. It contains proposals and options for discussion. It also briefly describes important aspects of these Acts for people who may not be familiar with their contents. The Green Paper has been prepared by the Directorate: Minimum Standards of the Department of Labour which is responsible for enforcing the BCEA and the Wage Act. It does not represent an official government view. It has not been endorsed by the Cabinet. It awaits the outcome on certain issues of the Report of the Comprehensive Labour Market Commission. The Green Paper will be submitted to the social partners in the National Economic Development and Labour Advisory Council (NEDLAC) for consideration. It is published to obtain public comment and will be circulated to other government agencies to obtain their views. The Green Paper concentrates on the principles that will form the basis for the development of the new legislation. It draws the attention of the public and the social partners to aspects of the existing laws that often do not receive adequate attention.
- Full Text:
- Date Issued: 1998
Field Trip A1: Karoo dykes, sills and volcanics in the Eastern Cape
- Authors: Marsh, Julian S
- Date: 2001
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/144835 , vital:38383
- Description: The Karoo Province (Fig. I I ) is one of the classic Mesozoic continental flood basalt provinces At present erosion levels it comprises numerous eroded remnants of extensive, thick, and largely volcanic sequence and a well-exposed subvolcanic intrusive complex of dykes and sheets.
- Full Text:
- Date Issued: 2001
- Authors: Marsh, Julian S
- Date: 2001
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/144835 , vital:38383
- Description: The Karoo Province (Fig. I I ) is one of the classic Mesozoic continental flood basalt provinces At present erosion levels it comprises numerous eroded remnants of extensive, thick, and largely volcanic sequence and a well-exposed subvolcanic intrusive complex of dykes and sheets.
- Full Text:
- Date Issued: 2001
Rhodes University Graduation Ceremony 2002
- Authors: Rhodes University
- Date: 2002
- Language: English
- Type: text
- Identifier: vital:8145 , http://hdl.handle.net/10962/d1007267
- Description: Rhodes University Graduation Ceremonies 1820 Settlers National Monument Friday, 5 April 2002 at 10:30; 14:30 & 18:00 [and] Saturday, 6 April 2002 at 10:30 , Graduation Ceremony Christian Centre, Wyse Street, East London Friday, 10 May 2002 at 18:00
- Full Text:
- Date Issued: 2002
- Authors: Rhodes University
- Date: 2002
- Language: English
- Type: text
- Identifier: vital:8145 , http://hdl.handle.net/10962/d1007267
- Description: Rhodes University Graduation Ceremonies 1820 Settlers National Monument Friday, 5 April 2002 at 10:30; 14:30 & 18:00 [and] Saturday, 6 April 2002 at 10:30 , Graduation Ceremony Christian Centre, Wyse Street, East London Friday, 10 May 2002 at 18:00
- Full Text:
- Date Issued: 2002
Fanon’s Curse: re-imagining Marxism in South Africa’s age of retreat
- Helliker, Kirk D, Vale, Peter C J
- Authors: Helliker, Kirk D , Vale, Peter C J
- Date: 2009
- Language: English
- Type: conference paper , text
- Identifier: http://hdl.handle.net/10962/61029 , vital:27924 , http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.587.740&rep=rep1&type=pdf
- Description: Given its growing, even dark, reputation for xenophobia, it seems extraordinary that South Africa remains open to ideas from the outside. Fifteen years after apartheid in South Africa ended, the country’s great cities are branded with the same imported images that clutter glittering malls in New York, London or Sydney. The rapidity of this makeover from apartheid’s grey conformity is held to be testimony to the success of neo-liberal globalisation which was enthusiastically embraced with apartheid’s ending.
- Full Text:
- Date Issued: 2009
- Authors: Helliker, Kirk D , Vale, Peter C J
- Date: 2009
- Language: English
- Type: conference paper , text
- Identifier: http://hdl.handle.net/10962/61029 , vital:27924 , http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.587.740&rep=rep1&type=pdf
- Description: Given its growing, even dark, reputation for xenophobia, it seems extraordinary that South Africa remains open to ideas from the outside. Fifteen years after apartheid in South Africa ended, the country’s great cities are branded with the same imported images that clutter glittering malls in New York, London or Sydney. The rapidity of this makeover from apartheid’s grey conformity is held to be testimony to the success of neo-liberal globalisation which was enthusiastically embraced with apartheid’s ending.
- Full Text:
- Date Issued: 2009
Feasibility Study: Imagining A Cultural/Healing Centre for the Northern Areas of Nelson Mandela Bay: Institutional structure, governance and management model (including a tool box to establish a legal entity and to manage an NPO)
- Date: 2016-10
- Subjects: South Africa -- History -- 20th century , South Africa -- Politics and government , Government, Resistance to -- South Africa
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10948/41368 , vital:36454 , Bulk File 7
- Description: The Northern Areas History and Heritage Project consists of a variety workshops and materials examining the history of this part of Port Elizabeth to which people of colour had been removed in the 1970s. The materials include a book and DVD on the Northern Areas Uprising; six booklets entitled ‘Feasibility Study: Imagining a Cultural/ Healing Centre for the Northern Areas of Nelson Mandela Bay’ covering topics such as the Northern Areas Uprising, healing through memorialisation, architecture, non-profit organisations, archives and databases; 35 DVDs consisting of interviews with individuals, communities and focus groups, as well as a Winter School Project on Apartheid and the Group Areas Act. Also included are two maps relating to the area’s history.
- Full Text: false
- Date Issued: 2016-10
- Date: 2016-10
- Subjects: South Africa -- History -- 20th century , South Africa -- Politics and government , Government, Resistance to -- South Africa
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10948/41368 , vital:36454 , Bulk File 7
- Description: The Northern Areas History and Heritage Project consists of a variety workshops and materials examining the history of this part of Port Elizabeth to which people of colour had been removed in the 1970s. The materials include a book and DVD on the Northern Areas Uprising; six booklets entitled ‘Feasibility Study: Imagining a Cultural/ Healing Centre for the Northern Areas of Nelson Mandela Bay’ covering topics such as the Northern Areas Uprising, healing through memorialisation, architecture, non-profit organisations, archives and databases; 35 DVDs consisting of interviews with individuals, communities and focus groups, as well as a Winter School Project on Apartheid and the Group Areas Act. Also included are two maps relating to the area’s history.
- Full Text: false
- Date Issued: 2016-10
Mna, Nosigidi
- Authors: Matyobeni, Simthembile
- Date: 2018
- Subjects: Creative writing (Higher education) -- South Africa , Xhosa poetry -- 21st century , South African poetry (English) -- 21st century
- Language: Xhosa , English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/64412 , vital:28541
- Description: This thesis is a collection of poems. These are lyric poems. Animystic poets like Christopher Okigbo and Wole Soyinka are the principal models in terms of style. Animystic poetry projects ideas and emotions in a hallucinatory and profoundly visionary manner. The collection has a variety of themes such as marginality, identity, history, and domestic abuse. Diverse language registers are used in the poems in order that the setting of each poem, whether historical or contemporary, is realised. , Le thesisi ngumbongo omde osekelezelwe kumlinganiswa oyintloko, uNosigidi. Esi simbo sokuyila isihobe siva ngomlimandlela owenziwa ziimbongi ezifana noJ. R. R. Jolobe no‐Aime Cesaire. Indumasiso ethi “UThuthula” kaJolobe inefuthe kwimo yokwakhiwa kweminye imibongo edibanisa le mbali. Asiyiyo yonke imibhalo yezi mbongi ethe ncakasana ukungqamana nale mbali‐sihobe kaNosigidi. Imibongo ekuthiwa yi‐‘Animystic poetry’ isetyenzisiwe kakhulu kule mibongo. Sigqaliwe kunye nesihobe nesikaSappho, kuba yimbongi ebhale kakhulu ngamandla elizwi lamanina. USappho ngakumbi ubhala kakhulu kwisihobe sakhe ngamanina athandana namanye. Owona mxo walo mbongo kukugqala ibali koNosigidi okhule esazi kamhlophe ukuba yena uthandana namanye amanina. Isizathu soku kukuba nabo obu bomi kuyafuneka kubhaliwe ngabo ngendlela enenkathalo kuncwadi lwesiXhosa. Nasekusabeleni ubizo lwakhe kwintwaso uNosigidi uya enamathidala, de obo bomi bentumekelelo abamkele ngazo zozibini.
- Full Text:
- Date Issued: 2018
- Authors: Matyobeni, Simthembile
- Date: 2018
- Subjects: Creative writing (Higher education) -- South Africa , Xhosa poetry -- 21st century , South African poetry (English) -- 21st century
- Language: Xhosa , English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/64412 , vital:28541
- Description: This thesis is a collection of poems. These are lyric poems. Animystic poets like Christopher Okigbo and Wole Soyinka are the principal models in terms of style. Animystic poetry projects ideas and emotions in a hallucinatory and profoundly visionary manner. The collection has a variety of themes such as marginality, identity, history, and domestic abuse. Diverse language registers are used in the poems in order that the setting of each poem, whether historical or contemporary, is realised. , Le thesisi ngumbongo omde osekelezelwe kumlinganiswa oyintloko, uNosigidi. Esi simbo sokuyila isihobe siva ngomlimandlela owenziwa ziimbongi ezifana noJ. R. R. Jolobe no‐Aime Cesaire. Indumasiso ethi “UThuthula” kaJolobe inefuthe kwimo yokwakhiwa kweminye imibongo edibanisa le mbali. Asiyiyo yonke imibhalo yezi mbongi ethe ncakasana ukungqamana nale mbali‐sihobe kaNosigidi. Imibongo ekuthiwa yi‐‘Animystic poetry’ isetyenzisiwe kakhulu kule mibongo. Sigqaliwe kunye nesihobe nesikaSappho, kuba yimbongi ebhale kakhulu ngamandla elizwi lamanina. USappho ngakumbi ubhala kakhulu kwisihobe sakhe ngamanina athandana namanye. Owona mxo walo mbongo kukugqala ibali koNosigidi okhule esazi kamhlophe ukuba yena uthandana namanye amanina. Isizathu soku kukuba nabo obu bomi kuyafuneka kubhaliwe ngabo ngendlela enenkathalo kuncwadi lwesiXhosa. Nasekusabeleni ubizo lwakhe kwintwaso uNosigidi uya enamathidala, de obo bomi bentumekelelo abamkele ngazo zozibini.
- Full Text:
- Date Issued: 2018
Composition portfolio
- Authors: Cooper, Corinne Jane
- Date: 2019
- Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/168338 , vital:41568
- Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
- Full Text:
- Date Issued: 2019
- Authors: Cooper, Corinne Jane
- Date: 2019
- Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/168338 , vital:41568
- Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
- Full Text:
- Date Issued: 2019
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