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Submitted in partial fulfilment of the requirements for B.A. Honours degree in the Department of African Languages at the University of Zululand, South Africa, 1988. / The aim of study is to motivate cultural heritage amongst Africans, to despise the past in their musical ability and be self-!'reliant and original instead of imitating the Western musical systems entirely.

MA, Faculty of Humanities, University of the Witwatersrand, 1993

Thesis (M.A.)(African Languages) --University of Limpopo, 2009. / Most people feel not comfortable in taking part in ritual ceremonies thinking that they are barbaric, old fashioned and valueless. The aim of this study is to make this people change their perspective by bringing out their significance through thorough investigation on the symbolism which is used in their performances which hides their practical meaning and value. Qualitative method was used to gather the information and data used in this research in which interviews were conducted. Thirty people, both males and females were visited at their homes from villages around Malamulele Township, although only few were quoted.Their responses made it clear that a lot of symbolism is used in Xitsonga ritual ceremonies which made it not clearly understood by the youth which led to their downfall. It is recommended that in the performance and practice of these rituals, a sort of explanation should be given which will clear inquisitive minds. It is also recommended that the society at large be educated about their value and significance for them to practice them with pride and dignity.

My published output represents an ongoing engagement with the issues of studying, learning, understanding and transmitting music. More specifically, it has the music of Ghana in West Africa as its primary focus. This music is then considered from a number of points of view:- • as music, where the sonic events can be charted, documented and analysed • as 'ethnic' music where the function and meaning of this music for its culture can be considered • as a cultural artefact where the changing processes of transmission and preservation are observed • as pedagogical material where the nature of learning related to culture and the processes of translation by the teacher and the learner are examined. Music as object for documentation and discussion is a substantial part of Xylophone music from Ghana, the two articles in Composing the Music of Africa and the article in the British journal of Ethnomusicology as well as the COs, 'Bewaare - they are coming' Dagaare songs and dances from Nandom, Ghana and 'In the time of my fourth great-grandfather ... ' Western Sisaala music from Lambussie, Ghana. These same publications also consider the roles and function of the music within its culture. Music as a cultural artefact, its transmission and preservation, particularly in relation to formal education, is the focus of the two articles in the British journal of Music Education, the Music Teacher publication, the article in Cahiers de Musiques Traditionelles, and the ESEM conference paper. Pedagogical issues and materials form the basis for Music of West Africa, Kpatsa, and the symposium papers.

The rejection of young pastors by African culture with the old people is a serious problem and a challenge that are affecting Mulenzhe and other area within Vhembe district. The aim of this research is to equip young pastors who are experiencing this rejection by rejection by old people is to help young pastors in acquiring skills which helps them in overcoming this problem. In this research a model which has been used is the one of the shepherding of flocks. This is the Gerkin’s methodology which is on pastoral care of the flocks that belongs to God. The Word of God has been used to explore where the author wanted to show that God is the only one who call people to be a pastors out of His will. This research study explored the model of pastoral care which the affected young pastors have to be helped to receive healing after trauma councelling and guidance by pastoral care givers who are empowered through this research. The research is done by exploring the following key questions:<ul> <li> Why do some married men have extramarital sexual relationships with young women, and when faced with problems, they would not allow young people who are ministers to counsel them?</li> <li> Another problem facing young ministers is the secrecy issue, namely is it correct for a man to hide the fact that he is maintaining another child while being married?</li> <li> What is the role of a pastoral care giver within that kind of a situation?</il> <li> How can the attitude of adults refusing to be counseled by young ministers be changed?</li></ul> Conclusion and recommendations African culture is recognized to be a threat to young pastors in all its aspects. The young pastor is urged to acknowledge that African culture is a barrier to his/her duties. / Dissertation (MA(Theology))--University of Pretoria, 2009. / Practical Theology / unrestricted

Masters of Art / This Creative Writing project is an album of South African songs written specifically in the context of American blues music. Although blues is an intrinsically American genre of Western popular music, it has its roots (along with other African-American forms of musical expression such as ragtime and jazz) in African culture, and as a South African musician and writer, I am intrigued by the possibilities of exploring African-American blues in the context of South Africa. This project therefore attempts some hybridity between these two cultural expressions, and to ascertain what kinds of lyric might be possible in modern South Africa in terms of the formation and perpetuation of a South African identity. Blues songs traditionally have a rather narrow focus as far as lyrics are concerned, but the genre’s melodic structure, its instrumentation and its very specific vocal qualities have over the last century formed the bedrock of the whole of modern Western popular music.

Twenty years after the 1994 Rwandan Genocide, Violet Walters makes her way to the tiny village of Murumba to fulfill her dream of becoming a philanthropist. In addition to the shock of a new culture, Violet must now contend with Bret Calloway, a hardened philanthropist whose ten years at Murumba have made him less than happy about the arrival of Violet and her optimistic new perspective. Amid the mounting tension of their relationship, war looms in the background. What ensues is a testament to the transformational nature of a culture and its people. Gukundana seeks to illuminate injustices related to civil strife and genocide from an outsider's perspective. The character of Violet acts as a stable lens from which western viewers can engage with cultural hardships very different from their own. Within this, the connection between the warring ideologies of Bret and Violet against the background of the mounting violence around them serves as another window into greater emotional engagement with themes of violence and war. Ultimately, this screenplay's mission is to bridge cultural barriers in order to endear viewers to the unity, resiliency, and power of the Rwandan people, thus sparking change within a viewing audience's surrounding community.