M.A., Faculty of Humanities, University of the Witwatersrand, 2011 / While much has been written on black South African popular music (see, for example, Anderson, 1981; Coplan, 1985; Erlmann, 1991; Meintjes, 2003; Allen, 2004; Ansell, 2004; Muller, 2008), little has been written on Tsonga popular music. This dissertation interrogates ‘Tsonga music’, a category for naming Tsonga popular music used by many including the South African Music Awards (SAMAs); one of the few SAMA categories (others include Afrikaans, Venda and Pedi music categories) to be named by ethnicity. I question why the music is labeled the way it is and how these genre labels, which participate in global genre histories and local ethnic histories, interact with the Tsonga music category. In sum, this study explores what Louise Meintjes calls ‘genrefication’ (2003: 19) in popular Tsonga music and the meaning this has for its practitioners in a ‘glocalized’ music market (Robertson, cited in Steger, 2003). In chapter one I trace the origins of Tsonga music as it is known today. The chapter focuses on General MD Shirinda, considered the father of Tsonga music. I write about aspects of his life and the role he played in the development of contemporary Tsonga music. Chapter two pays close attention of one of the Tsonga music subgenres, ‘Tsonga traditional’ or neo-traditional music. The chapter interrogates the meaning of the Tsonga traditional label for its practitioners. Here I question the use of terms such as ‘Tsonga’ and ‘traditional’ for labeling Tsonga music. I end the chapter by discussing some characteristics of this subgenre. The third chapter follows the narrative of ‘Tsonga disco’ as told by my informants. Through the life stories of the musicians who have played major roles in the development of this subgenre, I explore how socio-political circumstances influenced the labeling of the subgenre. The chapter gives attention to the contribution to the subgenre by Paul Ndlovu, Peta Teanet, Joe Shirimani and Penny Penny. I end the chapter with a description of a live performance of Tsonga disco. Ethnicity is a recurring theme throughout the study. However, it is in chapter four that explicit attention is given to this identity marker. The chapter explores the role of ethnicity in shaping Tsonga music and how Tsonga musicians construct and affirm their ethnic and other identities in their music. Finally, I discuss the relationship between Tsonga music and the global music market.

Thesis (M. A. (African languages)) -- University of Limpopo / Ndzavisiso lowu wu kongomanile ni mitlangu ya mindhavuko ya xintu, ngopfungopfu ya Xitsonga. Eka xiyenge lexi rito xintu ri tirhisiwile hikuva mitlangu leyi ya xakelana hikuva tinxaka ta ka ntimeni ti ni swo tala leswi ti hlanganaka eka swona, xikombiso swinsin’wana leswi hi swi kumaka eka mintsheketo yo fana na Jelani wa Jelani swi ngo hambana hi matsalelo kambe hungu ra swona i rin’we. Hambiswiritano, eka tsalwa leri, ku ringetiwa ku xopaxopa swinsin’wana swa vana leswi tikombaka swi tshuriwile hi vatsonga. Xikongomelo xa tsalwa leri i ku hlayisa na ku kambisisa hi ta swinsin’wana na mitlangu ya vana va Vatsonga leyi ngo nyamalala ku nga ri na laha yi nga hlayisiwaka kona. Tsalwa leri kombisa nkoka wa swinsin’wana na mitlangu ya vana, leswi vana va swi dyondzaka ni ku pfuneka hi ku endla swilo leswimbirhi. Emakumu ndzi tiyisa leswaku hi ku vona hilaha swinsin’wana na mitlangu ya vana va Vatsonga swi nga hangalaka hakona, ndza ha ta ya emahlweni ndzi lavisisa na ku tsala hi swinsin’wana na mitlangu ya ndhavuko wa vana va Vatsonga leswaku swi nga fi na ku nyamalala kambe swi hlayiseka, eka malembe lawa ya taka leswaku yi va ndhaka ya rixaka ra vana va Vatsonga leri nga ha ta tumbulukaka.

MAAS / MER Mathivha Centre for Languages Arts and Culture

M. Tech. Dance / Knowledge of cultural dances and songs is one of the key aspects necessary for a comprehensive understanding of the customs of any cultural group. This includes indigenous cultural practice of a particular cultural group, which in themselves have a plethora of different performance practices and categories that are extensive and unique in their own right. The indigenous music and dance of Vatsonga is no exception. It is against this background that this study was undertaken. This study seeks to collect, document, promote and preserve the Xitsonga indigenous art form, namely, Ku Thawuza music and dance, by means of transcribing and investigating it.

Thesis (M.A. (African Languages)) --University of Limpopo, 2005 / Refer to the document

Text in English / This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another. / Art History, Visual Arts and Musicology / M.Mus.

Text in English / This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another. / Art History, Visual Arts and Musicology / M. Mus. (Musicology)

PhD (Xitsonga) / Xikolo xa Tisayense laswa Vanhu na Mahanyelo / Ndzavisiso lowu wu thyiwile Nxopaxopo wa Nkoka wa Tinsimu ta Thomas Hasani Chauke eka ku Tlakusa na ku Hluvukisa Xitsonga na Ndhavuko wa Vatsonga (An Analysis of the Role of Thomas Hasani Chauke’s Songs in the Development and Promotion of Xitsonga and Vatsonga Culture). Xikongomelonkulu xa ndzavisiso lowu i ku xopaxopa vuyimbeleri bya Thomas Hasani Chauke byi wu tirheke hakona ku ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga hakona. Hi lembe ra 1996 Vumbiwa bya tiko lebyi byi hlohlotelaka leswaku tindzimi hinkwato ta khumen’we ta ximfumo ti fanele ku khomiwa ku ringana byi pasisiwile. Kambe loko hi xiya hi kuma leswaku tindzimi ta Vantima ta ha ri eka xiyimo xa le hansi swinene. Huvo ya Pan South African Language Board (PanSALB) leyi simekiweke ku ringeta ku tlakusa na ku vona leswaku tindzimi hinkwato ta ximfumo ta hluvuka yi kuma swisolo eka vanhu lava pumbaka leswaku ntirho wa vona wu famba hi rivilo ra rimpfana. Leswi swi endle leswaku van’watindzimi va sungula njhekanjhekisano wo lava tindlela to vona leswaku tindzimi ta Vantima ta hluvukisiwa. Eka Xitsonga, muyimbeleri wo fana na Thomas Hasani Chauke u le ku tlangeni ka xiave xikulu eka ku hluvukisa na ku tirhisa Xitsonga na ku tlakusa ndhavuko wa Vatsonga hi vuyimbeleri byakwe. Ndzavisiso ku ya hi nkoka hi wona wu nga ta tirhisiwa eka xitsalwana lexi. Tinsimu to hambanahambana leti eka nandzelelo wa yena wa Shimatsatsa leti kandziyisiweke ku suka hi 1980 ku fika hi 2014 ti ta xopaxopiwa hi ku tirhisa thiyori yo xopaxopa. Ndzavisiso lowu wu kumile leswaku Thomas Hasani Chauke u tlanga xiave xikulu swinene eka ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga. Matirhiselo ya yena ya ririmi na mikongomelo leyi a yimbelelaka hi yona hi swona swi nga ta kombisa mhaka leyi.

PhD (African Studies) / Centre for African Studies / It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for others who enjoy indigenous Xitsonga music and dance. There exists, however gaps regarding documentation, preservation and notation of this music and dance practices. In this study, therefore, indigenous Xitsonga music and dance genres are analysed descriptively and documented (with notation of common songs) for posterity. A qualitative approach was used to conduct this musicological study. A study such as this one can also contribute towards African indigenous knowledge systems and be used by the Department of Education. / NRF