Thesis (Ph.D.)--Indiana University, Dept. of History, 2008. / Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3277. Adviser: John H. Hanson.

Thesis--Hartford Seminary Foundation, 1974. / Vita. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1976. -- 21 cm. Bibliography: leaves 290-317.

No description available.

Thesis (doctoral)--University of London, 1989. / BLDSC reference no.: DX190930.

A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997. / The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.

Submitted in partial fulfilment of the requirements for the Degree Doctor of Philosophy in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 2003. / Storytelling plays a very significant role in the daily activities of human beings. With regard to the significance of storytelling, Compton's Encyclopedia (1994:636) explains: Storytelling is as old as man. People were telling stories to one another, around campfires and waterholes long before written language developed. Like many nations around the world, Zulus are renowned for their storytelling abilities that date back to time immemorial. A look at their folktales, riddles, praises, songs, etc, reveals a rich heritage of unsurpassed storytelling techniques. In this chapter we are going to illustrate why we feel that there is need for an evaluation of how Zulu artists use music and poetry as a platform for communicating messages through stories. We are going to define some concepts that will be used in this study and indicate their relevance in elucidating the storytelling aspect of Zulu music and poetry. We are also going to look at some studies that have been undertaken in Zulu music and poetry and clarify how we intend to tackle this study.

ABSTRACT The following thesis explored a specific subculture called skhothane, or izikhothane in the plural, which has taken root amongst the male youth in South African townships. Izikhothane are primarily concerned with music, fashion, dance and linguistic prowess in relation to their counterparts. They performed against their counterparts in order to gain status, prestige, fame and renown. These in turn were exchanged in some instances for other desired outcomes such as access to women. This study explored the intersecting factors that have caused the rise and transformation of this subculture. The contextual factors can be understood as historical, economic, and social. Other factors such as masculinity, gender, race, ethnicity and class seem to be playing a role in the meanings that izikhothane make and the lenses through which the view themselves and their urban spaces. In addition to the above the izikhothane were looked at in relation to subcultures that were formed during apartheid, such as comrades, tsotsis, comtsotsis and pantsulas, for example. This has given an idea of the continuity associated with subcultures and the generational factors that lead to their formation. The frame work that was used, for the most part, to critically understand this practice was primarily taken from Foucault’s conception of space, Winnicott’s formulation of transitional spaces, Bourdieu’s ideas of capital, and Erikson’s work on youth identity.

Chronic unemployment and decreased agricultural production over the last two decades have left an increasing number of men throughout Ghana’s historically under-developed North unable to meet the financial and moral expectations traditionally associated with masculinity. Paralleling the liberalization of Ghana’s political economy over this period, this “crisis of masculinity” has resulted in unprecedented transformations in traditional kinship structures, patriarchy, and channels for the transmission of traditional practices in Dagbamba communities. Driven by anxieties over these changes, Dagbamba “tradition” is being promoted as a prescription for problems stemming from poverty, environmental degradation, and political conflict, placing music and dance at the center of this discourse. Music, Masculinity, and Tradition, investigates the mobilization of traditional music as a site for the restoration of masculinity within the Dagbamba community of northern Ghana. Drawing on eleven months of participant-observation conducted with Dagbamba warriors in Ghana’s Northern Region, archival research, and ethnographic interviews, this dissertation explores the relationship between performances of traditional music, preservationist discourses, and the construction of masculinity in the first decades of the 21st century. Through analyses of the warriors’ ritual performances, including sounds, movements, and dramatized violence, I ask how traditional ideals and contemporary realities of Dagbamba masculinity are constructed, negotiated, and reinforced through performances of traditional music, suggesting links between the “iterative performativity” of the ritual and evolving constructions of gender. This dissertation offers insight into the musical construction of masculinity and the place of “tradition” in the 21st century. It also challenges over-determined notions of power/resistance through a critical evaluation of traditional musical performances as sites for the negotiation of ideas about gender, power, and history in contemporary Africa.

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This dissertation is an exploration of the African female body as a site of regulation and resistance. Based on ethnographic fieldwork among the Dagara of northwestern Ghana, I illustrate how Dagara women are regulated through narratives of exclusion, through the mobilization of the rhetoric of tradition and cultural authenticity, and the racialization of gender ideologies. I then illustrate how Dagara women carve resistant spaces through song writing, dance, and instrumental performance, pointing to how female bodies in performance essay critiques of existent power structures. I argue that Dagara women redefine the terms of their sexed bodies through performance, as they open up new cultural possibilities. By mediating multiple categories of belonging, Dagara women expand the narrow demarcations that are mapped onto their bodies. Such divisive categories of African/Western, black/white, and traditional/modern are challenged through musical performance. Dagara women subvert regulation in ways that are instructive in re-theorizing the possibilities of resistant and transgressive action. / text