Madosini biography examples
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Reading for ‘African Spectralism’ in Latozi Mphahleni’s ‘Modokali’
Andile Khumalo University of the Witwatersrand abstract Many people have thought that the most exciting aspect of music from Africa is its rhythmic complexity. A variety of scholars, such as Reverend A.M. Jones, Simha Arom, and Kwabena Nketia, have all convincingly argued that rhythm seems to be the most prominent aspect of African music. This view has been solidified due to an imbalance in scholarly representation: research favours some areas of Africa, such as Central or West Africa, over others, and as a result has generated a partial view of African music, which highlights the significance of rhythm ahead of all other parameters. This paper proposes that a holistic view of music from other parts of Africa could utmaning the established perception of rhythm as the only significant feature of music from Africa. It supports this argument by focusing on music from a hitherto neglected area: the Eastern Cape in Sout
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Recent Posts
While this column was on break, South Africa lost one of the great custodians of its traditions, with the death on December 23, two days short of her 80th birthday, of Dr Latozi ‘Madosini’ Mpahleni, master of the uhadi and umrhube bows and the isitolotolo jaws’ harp; teacher, instrument-maker, berättare, singer and composer.
Madosini’s Special tjänsteman Provincial Funeral was a week ago, so now is perhaps an apt time to reflect not only on Dr Mpahleni’s passing, but on how the tragic loss was treated bygd the South African media, and what that tells us about perceptions of traditional music today. You can watch the entire funeral here https://www.youtube.com/watch?v=wvpiEyAEyvI – both the heartfelt responses and tributes in the tent, and the embarrassing failure of the province to ensure functioning coffin-lowering utrustning at the eMkhanthato graveside, which gave those who knew and respected her a chance to roll up their sleeve
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South Africa’s Indigenous Music & Stars
South Africa is a country rich in culture and language. It enjoys a diversity of groups who all have unique and intricate indigenous music sounds. Because of its wide-ranging genres, its folk music is often exported under the umbrella “world music” term. Unfortunately, this barely casts light on the nuances and history that make each sound distinct and exceptional.
It would take several book volumes to cover the entire scope of music that has sprung from all the regions of this beautiful country, so here we take a look at some of the more popular styles and the iconic artists who shaped and evolved the sound.
Zulu
Maskandi
The traditional music most associated with the Zulu nation is maskandi, a genre pioneered by migrant workers living in hostels and compounds (enkomponi) near mines in the 1960s. The music, which was typically played on guitar, conveyed a melancholic yearning for home and a desire for a bet