M.A. (Anthropology) / Please refer to full text to view abstract

Thesis (Ph.D. (Tshivenda)) -- University of Limpopo, 2015 / This study examines the role of non-verbal communication among the Vhavenḓa. It must be borne in mind that in comparison with verbal communication non-verbal communication tends to be perceived less accurately. This seems to be because every culture interprets body language, gestures, postures and vocal noises differently. Thus, in many instances, non-verbal communication tends to be misinterpreted and misunderstood. This is the problem that the study investigated and the findings of the study may help to indicate ways that can be used to interpret non-verbal communication in Tshivenḓa correctly. From the data collected, the study showed that there are several types of non-verbal communication that Tshivenḓa speakers use regularly. These are silence, kinesics, postures, facial expressions, heptics, proxemics and time. The study has adopted the qualitative research approach to collect and analyse the data. Using this approach, the study determined that there are several meanings that the Vhavenḓa associate with the aforementioned types of non-verbal communication. For instance, silence is largely associated with respect, good manners and satisfaction. Kinesics actions, such as kneeling down, denote kindness, honour and welcome. The study also shows the disadvantages of non-verbal communication which are part of silence, such as an indication of hatred, loneliness and witchcraft. In the main, the study shows that non-verbal communication in the Tshivenḓa culture is also gender based. For example, men are discouraged from walking behind their women as they would be deemed to be stupid, weak and lacking in leadership qualities. This fosters gender stereotypes and inequality between males and females - aspects which the constitution of the country discourages. The results of the study have led to several recommendations of which the following are the more prominent ones: as silence is not always golden Tshivenḓa-speakers should be encouraged to voice their feelings rather than remain in bondage forever and good manners should be encouraged as long as their realisation does not trample on people’s rights - regardless of their gender. Crucially, the study also recommends that life is dynamic and some cultural attributes that were fashionable in the past are no longer so today. Therefore, men especially should be taught to accept the new democratic order which accords everyone the respect they deserve - regardless of age, gender and religion.

(M. A. (African Languages)) --University of Limpopo, 2015 / Ngudo ino yo sumbedza uri ho shumiswa mirero na maidioma manzhi kha u bvukulula vhuvha na nzulele ya vhafumakadzi kha maṅwalwa a Ṋetshivhuyu, M.J. na Sigogo, N.E. Ngudo yo tumbula uri kanzhi mirero na maidioma zwi shumiswa kha u tsikeledza vhafumakadzi fhethu hunzhi: mishumoni, mbinganoni, lufunoni na kha mavhusele. Tsikeledzo iyi i vha ya muhumbulo khathihi na ya ṋamani. Naho zwo ralo, ngudo yo wana uri hu na huṅwe hu si gathi hune mirero na maidioma zwa ṱuṱuwedza vhutshilo havhuḓi kha vhafumakadzi. Magumoni azwo, ngudo i themendela uri vhafumakadzi vha fanela u farwa zwavhuḓi, nge vha vha vhathu u fana na vhanna.

Text in Afrikaans / Die eerste hoofstuk omskryf die begrip ngano, daarna volg 'n uiteensetting hoe die Venda mondelinge tradisie in die verlede gefunksioneer het en word die huidige aard en posisie van die verskynsel in die lewe van die gemeenskap gedefinieer. Veranderende sosio-ekonomiese en politieke kragte het die tradisionele lewenswyse van die Venda-mense in so 'n mate versteur dat die mondelinge tradisie en die stem van die storieverteller nie meer hoog waardeer word deur die moderne geslag nie. Die teoretiese uitgangspunt van hierdie tesis aanvaar dat religie 'n radikaal integrerend funksie het wat chaos in sinvolle patrone inkorporeer. Dialekties verbind aan die eerste beginsel van religie is die inherente drang van die mens se gees om alle gegewe limiete te transendeer. Vanuit hierdie fokus kan ngano as religieuse artikulasies interpreteer word wat chaos in sinvolle patrone uitdruk, en waarin oak opstand teen bestaande orde en tradisionele aannames uitgespreek word. In bree trekke skets die tweede hoofstuk die historiese agtergrond van die Venda-mense vanaf 800 nC tot en met die resente politieke veranderinge van 1994 in die Noordelike Provinsie. Die tweede deel van die hoofstuk bied 'n uiteensetting van hul religio-filosofiese agtergrond en tesame met die geskiedkundige gebeure dien dit as interpretatiewe konteks vir hierdie oeroue verhale wat van die een geslag na die ander oorgelewer is. In die volgende nege hoofstukke verskyn vyftig volksverhale wat in agt verskillende areas in Venda gedokumenteer is. Elke verhaal is vooraf voorsien van 'n opsomming van die inhoud van die verhaal asook 'n interpretasie van die verhaal deur die verteller self of verduidelikings van haar helpers. Die oorspronklike Venda-teks word gegee in die presiese woorde van die verteller met daarby die Afrikaanse vertaling. 'n Terna wat hehaaldelik voorkom is die opstand van die magteloses (die kind, die vrou of niksseggende persoon) teen magtiges (die koning, die man, dominerende familielede of tradisionele strukture). Ander gewilde temas is die ellende van hongersnood, die aanwending en voorkoms van toorkragte en bonatuurlike transformasies. Ten slotte is daar drie Sankambe-verhale waarin die fantastiese avonture van hasie, die aartbedrieer, wat op grand van blote vernuf oorleef, humoristies vertel word. Ofskoon daar duidelike artikulasies van verset en kritiek teen die tradisionele orde en teen magtiges is, waag ngano dit selde buite die tradisioneel religieus-filosofiese grense. / The first chapter outlines the concept ngano, thereafter the function of the Venda oral tradition in the past is described and the present nature and position of the phenomenon in community living is defined. Changing socio-economic and political forces disturbed traditional Venda life-style to such an extent that the oral tradition and the voice of the storyteller are not highly regarded by the modern generation. The theoretical point of departure of this thesis accepts the radical integrative function of religion ordering chaos into meaningful patterns. Dialectically tied to this first principle of religion is the inherent urgency of the human spirit to transcend all given limits. Viewed thus, ngano can be interpreted as religious utterances in which chaos is expressed in meaningful patterns and where resistance is articulated against existing order and traditional assumptions. Chapter two sketches the historical background of the Venda people from 800 AD up to recent political changes of 1994 in the Northern Province. The second part of this chapter presents an exposition of their religio-philosophic background which, together with the historical events provide an interpretative context for these ancient stories handed down from one generation to the next. Fifty folk tales (ngano) appear in the following nine chapters documented in eight different areas in Venda. Every narrative is introduced by a summary of the content of the story together with an interpretation by narrator and assistants. The Venda text is given first adhering as closely as possible to the original words of the narrator. Every line is followed by an Afrikaans translation. A recurring theme in ngano is the powerless (child, wife or insignificant person) resisting the powerful (king, husband/man, dominating family members or unyielding traditional structures). Other popular themes are the misery of famine, application and occurrence of witchcraft and supernatural transformations. Lastly three Sankambe-stories are documented in which the fantastic antics of the hare, the trickster in Venda folk tales who survives by sheer cunning, are humorously narrated. Although there are distinct expressions of resistance and criticism against the existing order and dominating powers, ngano seldom ventures beyond traditional religious and philosophic boundaries. / Religious Studies & Arabic / D. Litt et Phil. (Religious Studies)

Text in English / Accompanied DVD with printed record / In this dissertation, I explore music styles from Tshianzwane village in HaMakuya, in the Limpopo Province of South Africa, particularly malende, tshigombela, and children‘s songs. I consider the music styles as embedded in their extra-musical physical structure and abstractions; social rituals; frame of reference; forms of habitus; social order; cultural capital; social meanings, behaviour, power hierarchy, status, space, agency, institutions; formal-informal education and means; symbols; musical instruments; dance; religion; ancestor worship; traditional health practice; norms and values; mentorship and rites of passage. I further explore how and why music performers and other cultural patterns at Tshianzwane interpenetrate with each other and their living space through social roles; demonstration-imitation learning method; enculturation; dialectics of normative-interpretive, embodiment-hexis or cues, internalizationexternalization, surface-deep structure, conscious-unconscious level, qualitativequantitative understanding of music styles and genres and local-foreign context; means of communication; reinterpretation and redefinition of concepts. In conclusion, I consider how people and cultural patterns at Tshianzwane, through interpenetration, form progressing and changing social web; social connections; attachments; trance; state of flux in cultural patterns; synthesis of cultural patterns; embedded contexts; shared culture and resultant cultural patterns. Since cultural patterns, as a result of interpenetration, reflect each other, I point out the challenges in socio-spatial mapping of forms of habitus and cultural patterns. In my dissertation, I use John Blacking‘s work as my primary theoretical framework. Furthermore, I use Pierre Bourdieu‘s theoretical framework, and Hugh Tracey‘s and David Dargie‘s audio CDs on African tribal music to enrich my theoretical ground. I collected my field data at Tshianzwane in collaboration with Joseph Morake and Ignatia Madalane (students), Dr Susan Harrop-Allin (supervisor), Samson Netshifhefhe, Obert Ramashia, Paul Munyai and Musiwalo (informants). / M. Mus. / Art History, Visual Arts & Musicology

Thesis (MA. (African Languages)) -- University of Limpopo, 2012 / Ngudo ino yo sengulusa ndeme ya u thusa ṅwana ho sedzwa nḓila ya Tshivenḓa, sa izwi maitele aya a tshi khou ngalangala musalauno. Ngudo iyi yo sumbedza uri u thusiwa hu kha ḓi vha hone naho mathusele a hone o fhambana, sa izwi zwi tshi bva kha thendelano ya muṱa. Ho wanala uri kha muthuso hu shumiswa vhathu vhofhambanaho u fana na vhomaine, vhakegulu, vhafunzi kana ha tou rengwa mishonga ine ya shumiswa kha u thusa ṅwana. Ngudo yo dovha ya sumbedza mvelelo mmbi dza u sa thusa ṅwana na mvelelo mbuya dza u thusa ṅwana.

Thesis (MA. (African Languages)) --University of Limpopo, 2013 / Tsenguluso iyi yo bvisela khagala matshimbidzele a mbingano ya Vhavenḓa zwi tshi kwama zwine mbingano iyi ya vha zwone, u dzhenelela ha vhabebi, maambisele, u lugiselwa ha mbingano, lumalo u swika kha u vhinga kana u vhingwa. Yo dovha ya bvisela khagala khaedu dzo livhanaho na iyi mbingano ṋamusi dzine dza vha u sa dzhenelela ha vhabebi kha mbingano dza vhana vhavho. U ḓiṱoḓela vhafunwa ha vhaswa ano maḓuvha, zwiitisi zwa u sa malwa ha vhafumakadzi khathihi na u sengulusa uri ndi ngani vhanna ano maḓuvha vha si tsha mala vhafumakadzi vhanzhi.

This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.

Text in Afrikaans / Die eerste hoofstuk omskryf die begrip ngano, daarna volg 'n uiteensetting hoe die Venda mondelinge tradisie in die verlede gefunksioneer het en word die huidige aard en posisie van die verskynsel in die lewe van die gemeenskap gedefinieer. Veranderende sosio-ekonomiese en politieke kragte het die tradisionele lewenswyse van die Venda-mense in so 'n mate versteur dat die mondelinge tradisie en die stem van die storieverteller nie meer hoog waardeer word deur die moderne geslag nie. Die teoretiese uitgangspunt van hierdie tesis aanvaar dat religie 'n radikaal integrerend funksie het wat chaos in sinvolle patrone inkorporeer. Dialekties verbind aan die eerste beginsel van religie is die inherente drang van die mens se gees om alle gegewe limiete te transendeer. Vanuit hierdie fokus kan ngano as religieuse artikulasies interpreteer word wat chaos in sinvolle patrone uitdruk, en waarin oak opstand teen bestaande orde en tradisionele aannames uitgespreek word. In bree trekke skets die tweede hoofstuk die historiese agtergrond van die Venda-mense vanaf 800 nC tot en met die resente politieke veranderinge van 1994 in die Noordelike Provinsie. Die tweede deel van die hoofstuk bied 'n uiteensetting van hul religio-filosofiese agtergrond en tesame met die geskiedkundige gebeure dien dit as interpretatiewe konteks vir hierdie oeroue verhale wat van die een geslag na die ander oorgelewer is. In die volgende nege hoofstukke verskyn vyftig volksverhale wat in agt verskillende areas in Venda gedokumenteer is. Elke verhaal is vooraf voorsien van 'n opsomming van die inhoud van die verhaal asook 'n interpretasie van die verhaal deur die verteller self of verduidelikings van haar helpers. Die oorspronklike Venda-teks word gegee in die presiese woorde van die verteller met daarby die Afrikaanse vertaling. 'n Terna wat hehaaldelik voorkom is die opstand van die magteloses (die kind, die vrou of niksseggende persoon) teen magtiges (die koning, die man, dominerende familielede of tradisionele strukture). Ander gewilde temas is die ellende van hongersnood, die aanwending en voorkoms van toorkragte en bonatuurlike transformasies. Ten slotte is daar drie Sankambe-verhale waarin die fantastiese avonture van hasie, die aartbedrieer, wat op grand van blote vernuf oorleef, humoristies vertel word. Ofskoon daar duidelike artikulasies van verset en kritiek teen die tradisionele orde en teen magtiges is, waag ngano dit selde buite die tradisioneel religieus-filosofiese grense. / The first chapter outlines the concept ngano, thereafter the function of the Venda oral tradition in the past is described and the present nature and position of the phenomenon in community living is defined. Changing socio-economic and political forces disturbed traditional Venda life-style to such an extent that the oral tradition and the voice of the storyteller are not highly regarded by the modern generation. The theoretical point of departure of this thesis accepts the radical integrative function of religion ordering chaos into meaningful patterns. Dialectically tied to this first principle of religion is the inherent urgency of the human spirit to transcend all given limits. Viewed thus, ngano can be interpreted as religious utterances in which chaos is expressed in meaningful patterns and where resistance is articulated against existing order and traditional assumptions. Chapter two sketches the historical background of the Venda people from 800 AD up to recent political changes of 1994 in the Northern Province. The second part of this chapter presents an exposition of their religio-philosophic background which, together with the historical events provide an interpretative context for these ancient stories handed down from one generation to the next. Fifty folk tales (ngano) appear in the following nine chapters documented in eight different areas in Venda. Every narrative is introduced by a summary of the content of the story together with an interpretation by narrator and assistants. The Venda text is given first adhering as closely as possible to the original words of the narrator. Every line is followed by an Afrikaans translation. A recurring theme in ngano is the powerless (child, wife or insignificant person) resisting the powerful (king, husband/man, dominating family members or unyielding traditional structures). Other popular themes are the misery of famine, application and occurrence of witchcraft and supernatural transformations. Lastly three Sankambe-stories are documented in which the fantastic antics of the hare, the trickster in Venda folk tales who survives by sheer cunning, are humorously narrated. Although there are distinct expressions of resistance and criticism against the existing order and dominating powers, ngano seldom ventures beyond traditional religious and philosophic boundaries. / Religious Studies and Arabic / D. Litt et Phil. (Religious Studies)

M.Cur. / The purpose of this study was to explore and describe the role of significantothers in sex education of the Vha-Venda youth and to describe principles of managing sex education of the youth by community nurses. The researcher's view was that if sexuality education of the youth was done effectively, the youth might acquire the necessary knowledge of sex that would help them to deal with the social, physical and emotional demands of sexuality as they occur. This could reduce the high level of teenage pregnancies and sexually transmitted diseases among the youth. An exploratory, descriptive and contextual design was followed to achieve the aim of this study. Data was obtained from the youth, parents, guardians community nurses through focus group interviews. The main categories that emerged from the process of data analysis are as follows: The content of sex information given to the youth, the role of significant others in sex education of the youth, strategies that are used in providing sex education to the youth and obstacles in providing sex education to the youth. The results of this study show that the content of sexuality information given to the youth is not adequate. The role of significant others in sexuality education of the youth was found to be educating, guiding, advising and listening to the youth when talking about sexuality issues. Mothers and teachers were identified to be the people mostly involved in sexuality education of the youth. The study also revealed that sexuality' education of the Vha-Venda Youth is started very late in a child's life. Non effective strategies of providing sexuality information are used by parents and guardians. All three groups of respondents identified common obstacles in providing sexuality education of the youth. The results of this study and literature control were used as the basis for description of principles of managing sexuality education of the youth effectively by the community nurses . Recommendations ensuing from this study are that community nurses should involve themselves in assessment of need for help and assist the youth and parents, particularly mothers and teachers according to their needs. Nursing curricula should include guidelines on sexuality education and facilitation of parent's role as primary sexuality educators of their own children. The findings of this study can be considered for designing in-service education programs for community nurses and the curriculum for the training of community nurses in under and post graduate level. Further research needs to be done to assess if the principles described in this study are effective in managing sexuality education of the youths.