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

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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.

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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