Sanibona from Zululand

I woke up in KwaZulu-Natal today, and reported to my counter part in Music Education at the University of Zululand. The activities planned on my behalf are certainly exciting, but just walking with the Zulus is the most exciting part of today. Singing with the Zulu's puts me in amahubo heaven.

Amahubo is an isiZulu word that indicates the type of singing on which the Freedom songs from the Apartheid era were based. Most are said to have been sung in isiZulu and the amahubo style is used still today for protest music or situations of extreme urgency. There are vocal slides and tones sung that cannot be depicted using standard western musical notation, so I discussed my ideas about using video recordings and comments from South African musicians to teach South African song repertoire with my colleagues Dr. Elliot Pewa and Dr. Caesar Ndlovu. I think that without that commentary and the recordings, a publication of notated songs would not do justice to the intent and the emotion in the music.

Here in Zululand, I tried to practice saying hello to everyone I met today. The greeting is customary and enthusiastic, according to my scholarly references. I can anecdotal confirm this bit of scholarship, based on my day. Much like life in Boone, where everyone says "Hi, how are you"...."fine and you?"....I'm fine thank you" -- I could see that we exchange these pleasantries among ourselves around here. Except I'm tongue tied - because it sounds like "Sanibona" or "Sawubona, unjani?"..."Ngiyahpila, wena unjani?"

Since my goal is to compile a songbook representing all eleven official South African languages, I will have to shore up on a few other languages as well, and am carrying around a phrase book of the eleven official languages. It's heavy and I'm worn out from concentrating on the words and inflections.

Amidst the traffic and soccer madness, I met with representatives of the Soweto Gospel Choir and experienced a joyous afternoon of observing a rehearsal in a Dance Studio in Soweto. I am very happy that I have obtained permission to include video footage of the choir in the songbook and special permission to include a traditional song that is well known among South Africans and a composition of David Mulovedzi, the founding musical director of the SGC. His son, Jimmy Mulovedzi granted the permission on behalf of the family and sat for an in-depth interview with me about the power of music during Apartheid and how the role of the freedom songs have changed to address new struggles in South Africa - most notably HIV/AIDS.

Jimmy directs his own choir Memeza Africa, in which 18 of the 22 members are trained HIV/AIDS counselors. Rather than working professionally as SCG does, this choir performs for fund-raising and counseling in communities and among traditional healers and leaders to help combat the stigma associated with HIV testing. The Soweto Gospel Choir and the Memeza Africa group are both easily found online if you are interested in learning more about them.

Before I departed Johannesburg, I also met with directors from the University of Johannesburg, with whom I will continue to work over the next few months. Their choirs are quite different, since one is metropolitan in nature, and one is located in Soweto. Their stories and their music reflect these differences and remind me of the complex diversity among South African citizenry and music.

I'm headed to Grahamstown for the big Arts festival and archival research at Rhodes University tomorrow. Meanwhile, although the U.S. and South Africa are both out of the running for the World Cup, I will be wearing my uniform and if needed for morale, my mask.

Freedom Song: Project Description

Introduction: South African music has long represented the oppression of a black majority population throughout the years of Apartheid (1948-1994). Freedom Songs and their powerful impact on the resistance movement attracted the attention of international authorities at a critical time in South African history. This artistic repertoire is again emerging powerfully and poignantly as the South African nation rebuilds education, society and the arts.

Music’s unique role in the struggle for freedom and self-determination once served to disseminate information, promote unity, and express hope. Now, the Freedom Song genre has expanded to include messages of urgency for cessation of violence, educational awareness about HIV/AIDS, and establishment of South African traditional choral music as a cultural and national treasure. These endeavors have created new questions about what is considered “traditional” repertoire and what these newer and regenerated song forms and texts mean to people who sing and listen to them.


Research Objectives: I am sponsored by a Fulbright Scholarship, from the U.S. Department of State and Council of International Exchange of Scholars, to lecture and conduct research about South African choral songs of freedom, folkloric traditions and new compositions. During my six-month assignment, The University of Zululand and the University of the Free State are partner institutions contributing resources for my work in exchange for guest lectures and presentations. I am compiling an educational book of songs in each of the 11 official languages, selected by South African choirs, with introductory descriptions for each song contributed by South African musicians. The book will have a DVD of video recorded performances of choirs singing and moving. In addition to the book/DVD compilation, I will deliver workshops for American teachers on the topic of South African choral music and write articles for journals of music education. In my university courses, I will be able to teach about this powerful musical tradition based on my experiences with South African choirs.

Research Methodology: My research is based on interviews with singers and directors, music in South African music archives, and video recordings of South African choirs. “Freedom Songs” as I am defining them will include: 1) repertoire from the Apartheid era, 2) repertoire identified as freedom or protest songs by South African choral musicians, and 3) indigenous folkloric songs such as the Amahubo songs of the Zulu people. I have asked scholars, music directors, and students to serve as cultural informants, commenting on the music, and helping me to correctly translate text and interpret meanings of songs and their importance to South African people. Each informant will enter into an informed consent agreement with the researcher, signifying his or her willing participation with confidentiality and ethical understanding affirmed by his or her signature. It is noted that this is educational research and there will be no pay of any participants volunteering to be members of the study. If there are any profits after the expenses of the songbook are met, they will be divided equally among all the musicians who contributed, to be donated to their favorite charitable organization.

Freedom Song - Day 1: Just in Time

I arrived at the Oliver Tambo International Airport in Johannesburg just in time, it seems. The South African soccer team has been holding their own, but offical Vodacom staff presented me with a uniform upon arrival. I was a little surprised that they did not present a vuvuzela, given my background as a musician, nonetheless, I was happy to be recognized for the high school one-year in the soccer club player that I am.

There are Americans (and Greeks, Italians, Brazilians, Aussies, etc.) everywhere. I have found myself wondering when the Americans will go home so we can have some peace and quiet around here. Since I arrived on a Friday evening, I have not had much business to conduct, and will begin the schedule of meetings with the U.S. Consulate representative and choir directors on Monday morning. I was greeted at my Guest House by Wayne Jones, transportation provider for Appalachian State University in Johannesburg. It was wonderful to see a friendly face and have his immediate assistance with my logistical needs. His beautiful daughter Amy was with him and she has grown like a weed since this time last year.

Since I've been rather leisurely today, I made my way to a department store for some office supplies, then a local "prawn" restaurant. I did not expect the prawn to be served heads and all, but fortunately, my time in New Orleans had taught me how to handle the situation.

The rest of the evening is devoted to jet lag recovery, along with watching the U.S. match with Ghana. My fellow countrymen are hunters who somehow got three days ahead of schedule, so instead of hunting today, they have been drinking Hansa and preparing in their own way to support the U.S. team tonight. While I won't say exactly where they are from, I will say it is north of the Mason Dixon line and west of the Mississippi.