Music of South Africa
ResistanceofRhythms
Published by the B.C. Teachers’ Federation Lesson Aids Service
Music of South Africa
ResistanceofRhythms
Valerie DareAlicia RichardsThemba Tana
Copyright ©1996 Britannia World Music Program
Materials may be reproduced for classroom use. All other uses require thepermission of the authors.
Britannia World Music ProgramBritannia Secondary School1001 Cotton DriveVancouver, BC V5L 3T4Tel: (604) 255-9371Fax: (604) 255-8593
Distributed byLesson Aids Service – B.C. Teachers’ Federation100–550 West Sixth AvenueVancouver, BC V5Z 4P2Tel: (604) 871-2283 • 1-800-663-9163Fax: (604) 871-2295
Funding for development and publication of World Music units is provided byThe Vancouver Foundation.
Cover illustration by Denise GalayText design and typesetting by John McLachlan
IntroductionMusic of South Africa; Rhythms of Resistance
Music in South Africa, as in all sub-Saharan regions of the continent, is part ofdaily life, accompanying everyday tasks as well as festive and ritual occasions.The church, recognizing the connection between cultural and religious
expression, began formal music instruction in mission schools in the late 1800s and alsoactively encouraged the formation of large church choirs. Unfortunately, one of thelegacies of the system of Bantu education established in the 1940s was the disruption ofthis formal music training while, at the same time, black youth were made to feel thattheir musical heritage was inferior to that of the dominant white culture. As a result,young people today have turned away from their music traditions to become consum-ers of “bubblegum” pop music heavily influenced by American popular culture.
The influence of European and American musical styles and instruments had begunmuch earlier through church music and the introduction of the pennywhistle, whichwas adapted to African rhythms and became the principal instrument in the kwelastyle popular in the 1920s. Later, jazz instruments like the saxophone and bass guitarcombined with techniques used by African American vocal quartets to create in the1960s a style known as mbaqanga, or “heavy dumpling,” in the Zulu language. The best-known mbaqanga group, Mahlathini and the Mahotella Queens, epitomizes the style,in which a male lead vocalist sings in counterpoint to intricately-arranged five-partfemale harmonies backed by a totally electric band. Mbaqanga dance music is high-energy and dynamic. Ironically, while groups like Mahlathini and the MahotellaQueens are largely ignored by young listeners in their home country, they have gainedan international reputation with overseas audiences. Also popular internationally is theZulu tradition of a capella singing, mbube, which is discussed later in the booklet in thesection on music and religion.
Both mbaqanga and mbube songs of the last twenty years of the apartheid regimeoften contained coded messages of solidarity and resistance. Artists such as JohnnyClegg and Sipho Mchunu and their band, Juluka, together with Hugh Masekela andMiriam Makeba, brought these messages to the outside world through their record-ings and live concerts. Although Masekela and Makeba were exiled as a result of theiroutspoken opposition to apartheid, their music helped to fuel international support forpolitical and social change in South Africa.
Now that freedom of expression has been regained along with majority rule, itremains to be seen if popular music will continue the current trend to cultural homo-genization, or whether renewed interest in South Africa’s musical heritage will bringabout a cultural revival.
Valerie Dare
Geographic Background BACKGROUND INFORMATION MAP
STATISTICSPopulationEthnic groups
Languages
GovernmentAdult literacy
RATING
COMPLETION ACTIVITY
DEMOGRAPHIC PIE CHART
0 1 2 43 5
South Africa 1992
SOUTH AFRICAGeographic Apartheid
Geographic Background
not good fair good
◆ Graph the information about the % of eachracial group of the population of SouthAfrica.
◆ Label the parts of your pie graph.
BACKGROUND INFORMATIONApartheid or “apartness” was official South African policy for morethan 40 years until it was outlawed in 1994. In 1950, the legislaturepassed the Group Area Act. This law was part of a system to keepblack South Africans out of the political and economic life of thenation. The Group Areas Act allowed the government to assignpeople to live in specific areas on the basis of race. Ten “homelands”were created for black South Africans. This led to forced relocationof 3.5 million blacks into these bantustans, as they were called bythe South African government.
White South Africans served as advisors in these homelands.Homeland leaders had to be approved by South Africa. Most of thehomeland’s citizens worked in South Africa. They used SouthAfrica’s money system. In the late 1970s, South Africa recognizedfour of these homelands as “independent” nations. The other sixwere considered “self-governing.” No other countries recognizedthem as separate from South Africa. Many black South Africanssaw the homelands as part of the system of apartheid, which is nowillegal.
The township system was another product of the Group AreasAct. Areas near major towns were designated black townships.Blacks who worked in the cities lived in these townships, whichwere surrounded by fences and patrolled by South African securityforces. The blacks in the townships were considered to be citizensof one of the black homelands, not of South Africa.
The creation of these homelands had several effects, If blackswere considered citizens of other “countries,” then whites were thelegal majority in South Africa. Blacks were assigned to homelandson the basis of tribal membership. This kept blacks from uniting.“Divide and control” was apartheid’s goal. The homelands were inpoor parts of the country, so blacks could not get economic power.Even in the 1980s, 80% of homeland families lived in poverty. Thehomelands have worked like large detention centres. Many blackSouth Africans worked to end the homeland systems.
STATISTICSPopulation 40,600,000Ethnic groups Black 68%, white 18%
Mixed race 11%, Asian 3%Languages Afrikaans, English and many tribal
languages such as Zulu, Xhosa and SothoGovernment limited democracy (white voters)Adult literacy whites 99%, blacks 50%
RATINGRate the quality of race relations in South Africa in 1994.Circle a number.
COMPLETION ACTIVITYUse the above information.Apartheid =It was South African government policy for _______ years.A homeland is ___________________________________ .Most homeland citizens work in _____________________ .A township is ____________________________________ .
DEMOGRAPHIC PIE CHART
0 1 2 43 5
Map Questions◆ Which homeland is divided into the most
separate parts?◆ What might be the reason that there are no
homelands in western South Africa?◆ What do you think might explain the strange
borders of the homelands?
South Africa 1992
MAP
Socio-Political Focus DIRECTIONSAnswer the questions on the facing page to learn about the cycle of oppression and resistance caused by thegovernment policy of apartheid.
South Africa
Reaction
Apartheid
Feeling down, angry, helpless
Getting together, talking,planning, singing, dancing
Resistance
Oppression
Socio-Political Focus DIRECTIONSHave students answer the questions below to learn about the cycle of oppression and resistance in South Africacaused by the government policy of apartheid.
South Africa
Reaction
Apartheid
Feeling down, angry, helpless
Getting together, talking,planning, singing, dancing
Resistance
Oppression
Who could vote in South Africa?
How were people separated intodifferent groups under apartheid?
Was anyone killedresisting apartheid? Who felt down
and angry?
How did people feelwhen they got together?
What do we call thesongs against apartheid?
What kinds of thingsdid people do to resist?
Who controlled businessesin South Africa?
Viewing Guide DIRECTIONSWatch Sipho’s Visit to His Homeland from the video, Rhythm of Resistance; Black Music in South Africa, and answerthe questions below.
1. The name of Sipho’s homeland is:
3. When did Sipho first hear praise songs andlullabies?
Who sang them to him?
2. How often could Sipho go home to see his family?(check one)
❏ once a week❏ once a month❏ once a year
4. The houses look like this:
They are made of wood/mud and grass/brick(circle one).
5. Sipho’s wife is carrying ________________ onher head.
6. The boys in Sipho’s village have a job.What do they do?
7. These people live in Sipho’s village:
❏ babies ❏ young men❏ boys ❏ old women❏ girls ❏ old men❏ young women ❏ sick people
8. Where are the healthy young men?
9. EVALUATION Do the people in Sipho’s village likeliving there? Explain why or why not.
10. CHOICE What changes would make it easier to livein Sipho’s village?
11. MAKE YOUR OWN QUESTION 12. MAKE YOUR OWN QUESTION
South Africa
Viewing Guide DIRECTIONSHave students watch Sipho’s Visit to His Homeland from the video, Rhythm of Resistance; Black Music of South Africa,and answer the questions below.
1. The name of Sipho’s homeland is:Zululand
3. When did Sipho first hear praise songs andlullabies?He heard them when he was a baby.
Who sang them to him?Sipho’s mother sang praise songs and lullabies.
2. How often could Sipho go home to see his family?(check one)
❏ once a week❏ once a month❏ once a year
4. The houses look like this:(small mud huts with thatched roofs)
They are made of wood/mud and grass/brick
5. Sipho’s wife is carrying ________________ onher head.
6. The boys in Sipho’s village have a job.What do they do?They herd cattle.
7. These people live in Sipho’s village:
❏ babies ❏ young men❏ boys ❏ old women❏ girls ❏ old men❏ young women ❏ sick people
8. Where are the healthy young men?The young men are working in the cities.
9. EVALUATION Do the people in Sipho’s village likeliving there? Explain why or why not.
10. CHOICE What changes would make it easier to livein Sipho’s village?
11. MAKE YOUR OWN QUESTION 12. MAKE YOUR OWN QUESTION
South Africa
water
✓✓✓✓
✓✓✓
✓
Listening Guide DIRECTIONSListen to the song, Woza Friday, and circle the most appropriate word or words.
* from Ubuhle Bemvelo.
STYLEa capella or accompanied fast tempo or slow temposolo or chorus simple or complexcall and response always changing or repetitivemelismatic or one note per syllable
INSTRUMENTS
gong electric guitar keyboard xylophone
drum kit marimba bodhram
saxophone bass guitar piano
bongo drums rattle accordion flute
MY FEELINGS
curious or content
excited or peaceful
angry or romantic
happy or sad
calm or energetic
powerful or weak
confident or confused
homesick or content
THE PICTURE I SEE
South Africa
Listening Guide DIRECTIONSHave students listen to the song, Woza Friday, and circle the most appropriate word or words.
* from Ubuhle Bemvelo
STYLEa capella or accompanied fast tempo or slow temposolo or chorus simple or complexcall and response always changing or repetitivemelismatic or one note per syllable
INSTRUMENTS
gong electric guitar keyboard xylophone
drum kit marimba bodhram
saxophone bass guitar piano
bongo drums rattle accordion flute
MY FEELINGS
curious or content
excited or peaceful
angry or romantic
happy or sad
calm or energetic
powerful or weak
confident or confused
homesick or content
THE PICTURE I SEE
South Africa
Song Writing DEFINITION MODEL SONG LYRICS
DEFINITION:
DIRECTIONS THE NEW SONG
TITLE:Step 1: Watch the teachermake the first line.
Step 2: Help the teachermake the second line.
Step 3: Make a third linewith the teacher’s help.
Step 4: Write a fourth lineyourself.
WHAT IS A ?
South Africa
Song Writing DEFINITION MODEL SONG LYRICS
DEFINITION:
protest – an expression of objection, disapproval, ordissent, often in opposition to something a person ispowerless to prevent or avoid.
A protest song usually:■ describes a problem.■ uses a few key words to make it clear to listeners.■ has parts that are repeated to make the message
stronger.
DIRECTIONS THE NEW SONG
Soweto Blues *
The children got a letter from their masterIt said no more Xhosa, Sotho, no more ZuluRefusing to comply, they sent an answerThat’s when the policemen came to the rescueBullets were flying, children dyingThe mothers screaming and cryingThe fathers were working in the cityThe evening news brought out the publicityJust a little ultra-cityDeep in the city . . .Soweto blues
* from Welela
TITLE:Step 1: Watch the teachermake the first line.
Step 2: Help the teachermake the second line.
Step 3: Make a third linewith the teacher’s help.
Step 4: Write a fourth lineyourself.
WHAT IS A protest song ?
South Africa
Dance DIRECTIONSFind a picture showing a traditional South African costume and draw it in the space below.
DESCRIPTIONPata Pata is a dance based on South African rhythms.There are many stylistic variations and improvisation isencouraged.
Any number of dancers can take part. To begin, theyare scattered around the dance floor facing the music forthe first pattern (see below). This pattern is repeated forthe duration of the music. Each time the dancers finish apattern, they are facing in a different direction since thelast phase of the dance has a quarter turn clockwise.
COSTUME AND/OR INSTRUMENTS
ILLUSTRATION AND/OR STEPS DIAGRAM
1. Start Music2. Phrase 1: touch step
■ touch: a light weight transfer using the heel, sole, or ball of foot.■ step: a more emphatic weight transfer which can be done in place or while moving.
3. Add phrase 2 to phrase 1: heel–toe swivel4. Add phrase 3: knee–twist action5. Add phrase 4: kick plus three walks, then 1/4 turn clockwise
Repeat for duration of song.
South Africa
Dance DIRECTIONSHave students learn the following dance using the song Pata Pata, track #8, side B of Miriam Makeba’s Welela (seeResource List).
DESCRIPTIONPata Pata is a dance based on South African rhythms.There are many stylistic variations and improvisation isencouraged.
Any number of dancers can take part. To begin, theyare scattered around the dance floor facing the music forthe first pattern (see below). This pattern is repeated forthe duration of the music. Each time the dancers finish apattern, they are facing in a different direction since thelast phase of the dance has a quarter turn clockwise.
COSTUME AND/OR INSTRUMENTS
ILLUSTRATION AND/OR STEPS DIAGRAM
1. Start Music2. Phrase 1: touch step
■ touch: a light weight transfer using the heel, sole, or ball of foot.■ step: a more emphatic weight transfer which can be done in place or while moving.
3. Add phrase 2 to phrase 1: heel–toe swivel4. Add phrase 3: knee–twist action5. Add phrase 4: kick plus three walks, then 1/4 turn clockwise
Repeat for duration of song.
South Africa
Musical Instruments DIRECTIONSUse the cd-rom program, Musical Instruments, to research the ___________________ .
NAME & CLASSIFICATIONmembranophone idiophone chordophone aerophone
ORIGINS & GEOGRAPHICAL DISTRIBUTION
PERFORMANCE DETAILS MATERIALS FAMILY
LOOKS LIKE RELATED INSTRUMENTS
wood
metal
skin
bone
plastic
SIZE
PITCH RANGE
South Africa
Musical Instruments DIRECTIONSHave students use the cd-rom program, Musical Instruments, to research the mbira, or other indigenous instrument.
NAME & CLASSIFICATIONMbira (sansa) membranophone idiophone chordophone aerophone
ORIGINS & GEOGRAPHICAL DISTRIBUTION
PERFORMANCE DETAILS MATERIALS FAMILY
Percussion
LOOKS LIKE RELATED INSTRUMENTS
Jew's harp
wood ✔
metal ✔
skin
bone
plastic
about 23cm (9") long SIZE
PITCH RANGEvaries
◆ covers all of Southern Africa fromGhana to the Kalahari
◆ called sansa in South Africa
Sound is produced by the vibration of the thin metal tongues, orlamellas. When plucked by the fingers, each lamella produces amellow, twanging sound. To amplify the sound the mbira is often putinside a hollow gourd (see below).
South Africa
mbira(sansa)
gourd
Musicians DIRECTIONSDesign an album cover which expresses the spirit of the music played by the South African group or artist you enjoythe most. Complete the information about the music of each group or artist.
ALBUM COVER
GROUPName: JulukaRhythm Style:Instruments Played:
A Song Title:Genre/Purpose for Song:
GROUPName: Miriam MakebaRhythm Style:Instruments Played:
A Song Title:Genre/Purpose for Song:
GROUPName: Themba Tana & African Heritage
Rhythm Style:Instruments Played:
A Song Title:Genre/Purpose for Song:
GROUPName: Ladysmith Black MambazoRhythm Style:Instruments Played:
A Song Title:Genre/Purpose for Song:
South Africa
Musicians DIRECTIONSHave students listen to each of the following artists and groups, choose one, and design an album cover which ex-presses the spirit of their music.
ALBUM COVER
GROUPName: JulukaRhythm Style: MbaqangaInstruments Played: electric guitar
bass guitarkeyboarddrum kitsaxophone
A Song Title: Umfazi Omdala*Genre/Purpose for Song: dance* from Ubuhle Bemvelo
GROUPName: Miriam MakebaRhythm Style: JazzInstruments Played: guitar
keyboardsaxophonetrumpetdrum kit
A Song Title: Hapo ZamaniGenre/Purpose for Song: political* from Welela
GROUPName: Themba Tana & African Heritage
Rhythm Style: TraditionalInstruments Played: Bushman’s bow
A Song Title: Bushman’s Bow*Genre/Purpose for Song: unknown* from Songs and Drumming of Africa
GROUPName: Ladysmith Black MambazoRhythm Style: IscathamiyaInstruments Played: voice
bass guitarmoringabambu
A Song Title: Rejoice*Genre/Purpose for Song: religious* from TWO Worlds ONE Heart
South Africa
South AfricaReligion DIRECTIONSUse the text on the opposite page to make notes in point form on each of the topics below. Notes on Christianityare done for you as an example.
RELIGIONChristianityReligion of most South African blacks■ denominations include:
• drc, Anglican, Methodist, Roman Catholic, Presbyterian, Zionist
■ black churches• large choirs• Zionist has largest congregation
■ church stand on apartheid• pro-apartheid: Dutch Reformed Church (ngk)• anti-apartheid: all other denominations
■ contributions by missionaries• health, education of black population
■ Desmond Tutu• Archbishop of Anglican Church of South Africa
EXAMPLEReligious SongRejoice*Jesus, Jesus, Jesus is comingHe’s coming, He’s comingHe’s coming to my land.Jesus, Jesus, Jesus now I am walkingBrothers and sistersLet us rejoice, feel gladand give Him gloryGlory to HimGlory to the Son of GodHallelujah.
* from TWO Worlds ONE Heart
FOCUSSouth African Gospel■ Choirs, groups and soloists
■ Amadodana Ase Wesile
■ Ladysmith Black Mambazo
HISTORY■ 1665
■ 1749
■ 1859
■ 1881
■ 1962
South AfricaReligion DIRECTIONSHave students use the text below to make notes in point form on the student activity sheet on the facing page. Theexample of a religious song remains the same. The information on Christianity is given in point form on the activitysheet as an exemplar.
RELIGIONChristianityThe majority of black South Africans are Christians.Denominations include the Dutch Reformed Churchin Africa (drc), Roman Catholic, Presbyterian, andZionist, which has by far the largest congregation.Black churches are characterized by large choirs. Theirmusic and colourful dress greatly enhance the dignityand decorum of church services.
The white Afrikaans–speaking community is mainlyserved by the Dutch Reformed church (ngk).
Missionaries, both black and white, have worked toestablish schools, hospitals, and churches. Among thestrongest opponents or apartheid, missionaries havesupported improvements to the health and education ofthe black population.
Archbishop Desmond Tutu, one of the most recog-nized and respected Christians in the world, is the firstblack to be head of the Anglican Church of South Africa.
EXAMPLEReligious SongRejoice*Jesus, Jesus, Jesus is comingHe’s coming, He’s comingHe’s coming to my land.Jesus, Jesus, Jesus now I am walkingBrothers and sistersLet us rejoice, feel gladand give Him gloryGlory to HimGlory to the Son of GodHallelujah.
* from TWO Worlds ONE Heart
FOCUSSouth African GospelEvery township and rural area has countless choirs,groups and soloists with names such as Holy Spirits,Holy Brothers, and Hosana Hosana Hosana. The mostpopular gospel choir is a group of Methodists calledAmadodana Ase Wesile (motto: “One Heart, OneWay”). This group sets stirring multi-part harmoniesand passionate solos to the solid thud of a bible beatenwith one hand. Their songs are accented with agiledance routines.
The most commercially successful group with a largerepertoire of religious songs is Ladysmith BlackMambazo. Led by Joseph Shabalala, who is also aminister, Ladysmith Black Mambazo has perfected thestyle known as iscathamiya (a Zulu word meaning “tostalk or step softly”). Iscathamiya combines mbube acapella singing with choreographed dance movements.The example of a religious song on this page, Rejoice,was written by Shabalala.
HISTORYThe Dutch Reformed Church was established by Joanness van Arikel in and remains a stronghold for apartheid-supporters. In another denomination, the Dutch Reformed Church in Africa, was formed, and established anumber of orphanages and institutions for the needy and underprivileged. Although a black Reformed Church brokeaway from the drc, the leaders of both black and white churches have been active in the anti-apartheid movement. Achurch for Coloureds was established in 1881 and opened its membership to all races in .
The fourth-largest established church is the Anglican, which held its first service in Cape Town in . TheAnglican church is recognized for its black archbishop, Desmond Tutu.
Folk Tale page 1
DIRECTIONSListen to The Gift of the Tortoise and complete the activity sheets.
INSTRUMENT LOOKS LIKE WORDS THAT DESCRIBE THE INSTRUMENT ARE:Looks like: Sounds like:
TITLE
CHARACTERS VOCABULARY
The main characters are:
The hero of the story is:
The villain of the story is:
New words I learned are:
means
means
means
means
means
means
means
The story includes a musical instrument called the
South Africa
Folk Tale page 1
DIRECTIONSHave students listen to The Gift of the Tortoise and complete the activity sheets.
INSTRUMENT LOOKS LIKE WORDS THAT DESCRIBE THE INSTRUMENT ARE:Looks like: Sounds like:
lead singer
men chorus
women call and response
children a capella
TITLEThe Gift of the Tortoise
CHARACTERS VOCABULARY
The main characters are:
Fudugazi, the tortoise
children
The hero of the story is:
the children
The villain of the story is:
the gale
New words I learned are:
Amazulu means Zulu people of S. Africa
Fudugazi means tortoise
gale means storm
Isizulu means Zulu language
kanje kanje means this way, that way
revered means very much respected
means
The story includes a musical instrument called the voice
South Africa
JosephShabalala
Folk Tale page 2
SETTINGThe physical setting for the story looks like:
THEMEThe central idea of the story is:
PLOT
Introduction
Rising Action
Climax
Conclusion
South Africa
Folk Tale page 2
SETTINGThe physical setting for the story looks like:(A landscape with lush vegetation)
THEMEThe central idea of the story is:
Children must keep the culture alive by singing traditional songs and telling traditional stories.
PLOT
Introduction
Rising Action
Climax
Conclusion
South Africa
• Fudugazi isintroduced as thestoryteller.
• She introduces theanimals and theAmazulu people.
• The wind starts to blow.• The gale threatens the birds and the
children run to save them.• Fudugazi tells them the storm is
caused by the children forgetting theold songs.
• Thechildrenrememberto sing thesongs.
• The gale turns towelcome rain.
• The children sing andlife continues as itshould.
Glossary of Terms DIRECTIONSWrite the meaning of each of the following words. Draw a picture or write a sentence which shows the meaningof the word.
WORD MEANING SENTENCE OR ILLUSTRATIONA capella
Afrikaans
Apartheid
Bushman’s bow
Homeland
Marimba
Mbaqanga
Mbube
Mbira
Township
Xhosa
South Africa
Glossary of Terms DIRECTIONSHave students complete either word, meaning, sentence, or illustration for the following terms.
WORD MEANING SENTENCE OR ILLUSTRATIONA capella
Afrikaans
Apartheid
Bushman’s bow
Homeland
Marimba
Mbaqanga
Mbube
Mbira
Township
Xhosa
singing unaccompaniedby instruments
the official language of theapartheid era
“apartness;” governmentpolicy to keep blacks outof white areas
a musical instrument usedby tribes in southern Africa(also called a mouthbow)
a rural area of land setaside for blacks
a wooden xylophone
an urban dance rhythm
a style of a capella singingin groups of 8–12 men
a thumb piano, withflattened metal keysattached to a wooden box
an urban area of land setaside for blacks
a nation of people fromsoutheast of Cape Town
South Africa
Instrument Building MATERIALS■ a green sapling or branch 3 feet to 3 1/2 feet long (maple or birch provide the best sound).■ string of sufficient length to tie to the ends of the bent branch (see below).
DIRECTIONS1. Cut the wood to the desired length and peel off the bark if a smooth look is desired.2. Cut slightly angled grooves into the branch about one inch from the ends, deep enough to hold the string
wrapped around it.3. Tie the string around one end of the branch in the groove.4. With one end on the floor, press the bow into a curve.5. Wind the string around the groove in the other end of the branch to hold the bend in place.6. Place the end of the branch in your mouth (see illustration below) and tap the string with your finger to make a
sound.7. Try moving your lips and tongue to vary the sound (your mouth will act as a resonator).
ILLUSTRATION
Mouth Bow
Performance/Workshop RESOURCE PEOPLEName: Themba TanaContact Information: 2131 Riverside Drive
North Vancouver, bc v6h 1v8Tel (604) 929–9509 / Fax (604) 683-3886
Audience Participants: Suitable for students in grades 8-12 social studies, choir, band, English
PERFORMANCE/WORKSHOP DESCRIPTIONMusic and Politics in South Africa: the Protest Song
Focus: Students will view video sequences from Graceland showing Hugh Masekela performing Bring BackNelson Mandela and Miriam Makeba singing Soweto Blues. They will analyze, with Themba’s help,the musical elements that make these songs effective. Themba will teach them his song, Mandela.Students will work in pairs to write a concluding stanza for Soweto Blues.
STAGING REQUIREMENTS
LEARNING RESOURCESsound recording, Welelavideo, Gracelandequipment needed: cassette player or stereo system, tv monitor and vcr
PRE-PERFORMANCE SUGGESTIONSTeach “protest song” genre, providing contemporary examples from popular music.
POST-PERFORMANCE SUGGESTIONSHave students identify and discuss protest songs found in the music of other cultures.
Stage Diagram
South Africa
Should be presented in a classroomenvironment.
The Knowledge Framework South AfricaC
LAS
SIF
ICA
TIO
N/C
ON
CEP
TS
Thin
kin
g P
roce
ss:
clas
sifyi
ng, d
efini
ngex
plai
ning
, mak
ing
the s
tran
ge fa
mili
ar
Lan
gu
age:
spec
ific &
gen
eric
noun
s
Focu
s:m
usic
al st
yles
,in
stru
men
ts,
rhyt
hms,
socia
l /cu
ltura
l, po
litic
alco
ncep
tsKe
y V
isu
al:
tabl
e, gr
id
PR
INC
IPLE
S
Thin
kin
g P
roce
ss:
expl
aini
ng, p
redi
ctin
g,in
terp
retin
g, in
ferr
ing,
look
ing
for c
onne
ctio
ns/
caus
es/e
ffect
sLa
ng
uag
e:ca
use,
due t
o, re
sult
of,
how,
why
, if .
. . th
en
Focu
s:ca
uses
/res
ults
of
polit
ical
unr
est i
nS.
Afr
ica,
mus
ic g
enre
:pr
otes
t son
g
Key
Vis
ual
:cy
cle d
iagra
m, p
ie gr
aph
EV
ALU
AT
ION
Thin
kin
g P
roce
ss:
rank
ing,
appr
ecia
ting,
deve
lopi
ng e
mpa
thy/
posit
ive
attit
ude
tow
ard
nove
ltyLa
ng
uag
e:I f
eel,
I thi
nk th
at X
coul
d be
bet
ter,
Iun
ders
tand
Focu
s:ev
aluat
e diff
eren
t per
-fo
rmer
s & m
usic,
empa
th-
ize w
ith h
omela
nd an
dto
wns
hip
citiz
ens,
judg
eef
fect
s of a
parth
eidK
ey V
isu
al:
rank
ing
scal
e, vi
deo/
view
ing
& li
sten
ing
guid
e
C
HO
ICE
SEQ
UEN
CE
DES
CR
IPT
ION
Thin
kin
g P
roce
ss:
obse
rvin
g, d
escr
ibin
g,la
belin
g
Lan
gu
age:
adje
ctiv
es fo
r sou
nd,
qual
ity, n
ames
of
inst
rum
ents
,rh
ythm
s, st
yles
Focu
s:de
scrib
e var
ious
mus
ical
inst
rum
ents
Key
Vis
ual
:ch
art,
draw
ing
Thin
kin
g P
roce
ss:
follo
win
g ins
truct
ions
,se
quen
cing
, not
ing
apr
oces
s
Lan
gu
age:
first
, sec
ond
next
,be
fore
, the
re
Focu
s:bu
ildin
g an
mbi
ra,
writ
ing
a pr
otes
tso
ng, s
ingi
ng in
call
/re
spon
se st
yle
Key
Vis
ual
:nu
mbe
red
instr
uctio
ns,
actio
n str
ip, s
ong f
ram
e
Thin
kin
g P
roce
ss:
solv
ing
prob
lem
s,m
akin
g de
cisio
ns,
findi
ng p
robl
ems,
prop
osin
g al
tern
ativ
esLa
ng
uag
e:co
uld,
wou
ld, s
houl
d,pr
efer
Focu
s:su
gges
ting
way
s tha
tlif
e in
the
hom
elan
dsco
uld
by m
ade e
asie
r,m
akin
g up
a p
rote
stso
ngKe
y V
isu
al:
char
t
B A C K G R O U N D
K N O W L E D G E
A C T I O N
S I T U S T I O N
THE
KN
OW
LED
GE
FRA
MEW
OR
K (a
dap
ted
from
B. M
ohan
, 198
6)
01
24
35
nam
e/cl
assifi
catio
nor
igin
s/gr
aph
look
s lik
e1
2 3
I wou
ld ch
ange
. . .
Reference Sources BOOKSAllingham, Rob. Township Jive: from Pennywhistle to Bubblegum–the Music of South Africa. From World Music; The
Rough Guide. London: Rough Guides Ltd, ©1994. pp. 373–389.Coplan, David. In Township Tonight. Longman, ©1985.Kivnic, Helen Q. Where is the Way; Song and Struggle in South Africa. Penguin Books, ©1990.Marre, Jeremy and Hannah Charleton. Rhythm of Resistance; the Black Music of South Africa. From Beats of the Heart;
Popular Music of the World. New York: Pantheon Books, ©1985. pp. 34-50.Rosmarin, Ike. South Africa (Cultures of the World). New York: Marshall Cavendish, ©1993.
SOUND RECORDINGSGift of the Tortoise.* Gcina Molophe. Music for Little People, ©1994.Songs and Drumming of Africa.* Themba Tana and African Heritage. Aural Traditions, ©1984.Thokozile.* Mahlathini and the Mahotella Queens. Virgin Records, ©1988.TWO Worlds, ONE Heart.* Ladysmith Black Mambazo. Warner Bros., ©1990.Ubuhle Bemvelo.* Juluka. ©1991.Welela.* Miriam Makeba. Polygram Records, ©1989.
VIDEOGraceland, the African Concert.* Warner Reprise, ©1987.Rhythm of Resistance; Black Music of South African. (Beats of the Heart Series).* Harcourt Films, ©1979.The Seven Ages of Music. Princeton: Films for the Humanities and Sciences Inc., n.d.Songololo; Voices of Change. Telefilm Canada, ©1990.
CD ROMMusical Instruments.* Microsoft, ©1992.World Beat. Medio, ©1994.
RESOURCE PERSON FOR UNITThemba Tana2131 Riverside DriveNorth Vancouver, bc v6h 1v8Tel (604) 929–9509 / Fax (604) 683-3886
* Reference sources used in this unit.
South Africa