The cultural and historical significance of malopo ritual: A pedi perspective

Indeed, the implicit hypothesis that “there is little possibility, if any, for the Pedi traditional healers to experience the supernatural form of healing without performing music and dancing to it” raises the issue of “What makes the dance potent as a healing therapy?” or ‘What is the role of music in such healing processes?’. This article is a result of a guided investigation carried out in order to answer these questions. The primary sources for data collection were literature reviews, informal interviews, observations and recordings. During the study, informal discussions with traditional healers and their trainees revealed that participation in malopo rituals enables community members to inherit their music tradition. The impression created during interviews and observations was that Pedi traditional healers perform malopo songs to communicate with the ancestors. The results suggest that malopo rituals are aimed at enriching the personal and social life of the Pedi community

The art of establishing and maintaining contact with ancestors: A study of Bapedi tradition

Looking at Bapedi ancestor veneration constructively, one finds it a source of communication that enhances the community’s norms, values and personal well-being. The Bapedi community has a belief system that is based on the spiritual world, and this includes ancestor veneration. Communication with the spiritual world happens through sacrifices, songs and dance. Malopo  is a ritual that not only binds the people to their ancestors (the ancestral realm) but also provides a healing therapy. The purpose of this study was to investigate the religious and social functions of ancestor veneration in the Bapedi society, as well as the relationship between culture, music and identity in veneration in the traditional healing Sepedi context. To achieve this aim, the study employed a naturalistic approach and data were collected through video recordings of malopo rituals, interviews and observations. The main questions the study addressed are (1) what are the religious and social functions of ancestor veneration in the Bapedi society? and (2) what is the relationship between culture, music and identity in veneration in Sepedi traditional healing context? The results demonstrated that ancestors are vital to Bapedi society, and the most effective ways of reaching them are through music and dance – malopo rituals, as well as divination bones

Thanksgiving songs in contemporary Pedi society

This article is the dissemination of an investigation of the Pedi tradition of Thanksgiving Songs that continued in spite of all cultural suppression. This article discusses the form, content and functions of Pedi Thanksgiving Songs as guided by the research questions and hypothesis of the study. Content is discussed with reference to African indigenous knowledge about what a ‘human-musical product’ entails in the African world view. It is a creative-artistic content informed by human, philosophical, artistic, spiritual, socio-contextual, and health perspectives indigenous to Africa. The particular Pedi Thanksgiving Song discussed here serves as an example and/or representation of the general African traditional perspective of musical practice and creativity. Specifically, the study attempts to establish the reality that music making is not restricted to organized sound only; it also includes a symbolic expression of a social and cultural organization, which reflects the values, the past and present ways of life of human beings.http://ngtt.journals.ac.za/am2013mn201

Kanegelorato Ya Sepedi

In this thesis, an attempt is made to divide the Sepedi love story as 'light' reading matter into different subgenres. In order to do this, a distinction has to be made between 'light' and 'serious' reading matter. In short, this distinction amounts to the following: -- The love story as 'light' reading matter deals with problems of love that are resolved and the story ends on a happy mate. The conflict is between 'good' and 'bad' and the characters are portrayed accordingly and are hence flat characters. There is more emphasis on action than on characterisation. Suspense is built up by a series of problems that prevent the lovers from meeting each other. The problems are gradually resolved and the story has a happy ending. -- The love story as 'serious' reading literature emphasises problems in life rather than problems of love. The characters are portrayed fully in their exposure to the storm and stress of life. The love affair being depicted is headed for disappointment, and the ending is often tragic. In Sepedi literature, the love story as 'light' reading matter (or entertainment literature) is divided into five subgenres, i.e. the love story as (a) a moral story, (b) a subdivision of the detective story, the romantic mystery of Ramsdell (1999), (c) the ethnic or multicultural romantic story, (d) the historical love story, and (e) the true love story. In the love story as a moral story, there is a strong focus on the loyalty of the lovers. Where there is infidelity, the good relationship can only be restored if the guilty one received his punishment. Example of this are Noto-ya-Masogana (Tsebe, 1954), Morweši (Motuku, 1969), Tshehlana ya ka (Bosoma, 1990) and Sesasedi sa katlego (Kekana, 1990). In the love story as a subdivision of the detective story, the intrigue (of love) is used to intensify the secret in the detective story. Kekana's Nonyana ya Tokologo (1985) and Nnete Fela (1989) are two suitable examples in which the attitude of the heroine prevents a quick unravelling of the problem. In the ethnic or multicultural love story, the happy ending is delayed by the fact that the lovers do not belong to the same ethnic or cultural group and because the love affair is under social and cultural pressure. Megokgo ya Lethabo (1992) is an example of such a story in which the lovers are a Mopedi and a Motsonga respectively, and the young man's family was not at all in favour of the relationship. In the historical love affair, the conflict in the story is intensified by the difference between the traditional and the present-day outlook on life. This subgenre differs from the previous one in that the conflict originates within the same ethnic or cultural group and in that it is the result of the changes that have, amongst other things, been brought about by urbanisation. An example of this subgenre is Rafapa' s Leratosello (1978). The true love story shares many of its characteristics with the love story as a moral story, as the conflict is also between 'good' and 'bad' characters. In this subgenre there is, however, no place for peace; the 'good' is not used to emphasise the moral. Examples of this are Leratorato (Motuku, 1977), Lerato (Ramokgopa, 1978) and Le Lerato (Moloisie, 1986).Thesis (DLitt (African Languages))--University of Pretoria, 2006.African Languagesunrestricte

Analisering van tradisionele godsdienstige Pedi-liedere vir gebruik in die laerskool kurrikulum

The Bapedi is an ethnic group in South Africa whose traditional music is not welldocumented. For this article, 31 traditional Pedi religious songs from 11 elderly Bapedi women in Sekhukhune, Limpopo Province, South Africa were collected and analysed. They were analysed using religious, musicological and contextual perspectives, and two choruses were selected. Eight Sepedi-speaking children from a school choir at Baxoxele Primary School in Soshanguve were observed whilst learning these two choruses. Repetition was used as a powerful, rhetorical and expressive device, skilfully employed to express and internalise faith and to impart dominant emotions. Informal discussions with teachers indicated that the children showed an improvement in their concentration and attitude to schoolwork. Learning these two choruses also unlocked some creative talent and improved their social skills. The joyous nature, rhythmic foundation, harmonic simplicity, and combination of intellect and emotion as well as the repetitiveness and briefness of these songs appealed to both children and adults. It was concluded that for the preservation of traditional Pedi religious music and culture there is an urgent need for the collection and documentation of traditional Pedi religious songs. In recognising their identity, such songs could contribute to the attitudes and cultural values of Sepedi-speaking children. Similar projects are suggested for the other 10 language groups in South Africa.Analisering van tradisionele godsdienstige Pedi-liedere vir gebruik in die laerskool kurrikulum. Die Bapedi is ’n etniese groep in Suid-Afrika wie se tradisionele musiek nie goedgedokumenteer is nie. Vir hierdie artikel is 31 tradisionele godsdienstige Pedi-liedere van 11 bejaarde Bapedi vroue in Sekhukhune, Limpopo Provinsie, Suid-Afrika, ingesamel en ontleed. Hierdie liedere is volgens godsdienstige, musiekwetenskaplike en kontekstuele perspektiewe ontleed en twee kore uit die liedere is daarna gekies. Agt Sepedi-sprekende kinders van die Baxoxele Primêre Skool in Soshanguve se skoolkoor, is waargeneem terwyl hulle hierdie twee kore aangeleer het. Herhaling is gebruik as ’n kragtige, retoriese en betekenisvolle hulpmiddel, vaardig toegepas om uitdrukking aan geloof te gee en ’n verdieping daarvan te bewerkstellig sowel as om grootliks emosie daaraan te verleen. Informele gesprekke met onderwysers het aangedui dat die kinders se konsentrasie en hulle houding teenoor skoolwerk verbeter het. Die aanleer van hierdie twee kore het ook hulle kreatiwiteitstalent ontsluit en hulle sosiale vaardighede verbeter. Die vrolike en ritmiese aard, harmoniese eenvoud, die kombinasie van intellek en emosie sowel as die herhaling en bondigheid van hierdie kore het ’n effek op kinders sowel as volwassenes gehad. Die gevolgtrekking was dat daar ’n dringende behoefte is om soortgelyke liedere te versamel en te dokumenteer met die doel om tradisionele godsdienstige Pedi-musiek en -kultuur behoue te laat bly. Deur erkenning te gee aan die aard van sulke liedere kan bygedra word tot ’n positiewe houding van Sepedi-sprekende kinders teenoor kulturele waardes. Soortgelyke projekte vir liedere van die ander 10 taalgroepe in Suid-Afrika word voorgestel.musicological and contextual perspectiveshttp://www.indieskriflig.org.za/hb201

Psalm-like texts in African culture : a Pedi perspective

Up to now there has been no attempt by Biblical scholars to compare the book of Psalms in the Old Testament with Pedi psalm-like songs. This study aims to fill that gap in the research and so contribute to the development of the African cultural heritage – especially that of the Pedi culture, by using indigenous knowledge systems. The research commences with a descriptive analysis of the various genres within the Book of Psalms. A variety of psalms types are discussed, including: Hymns of praise; Thanksgiving songs (communal and individual); Laments (communal and individual); Royal psalms; Hymns of Zion; Psalms of Yahweh’s kingship; Wisdom psalms; Liturgical psalms; Entrance liturgies; Judgement liturgies; Psalms of trust; Imprecatory psalms; Creation psalms; Torah (Law)-psalms; and Festival psalms. Each of these genres is described with reference to structural elements, characteristics and function(s). Then follows a descriptive assessment of numerous types and specific examples of Pedi Psalm-like songs via the provisioning of text, translation and a detailed commentary pertaining to contents and function. These include: Songs of Praise (e.g. Kgoparara); Thanksgiving songs (e.g. Mogale wa marumo - thanksgiving birth poem); Lament songs (e.g. Madi a manaba - a funeral song); Royal songs (e.g. Kgoshi - an inauguration song) Liberation songs (Ga e boe Afrika - a liberation song); Wisdom songs (Mokgoronyane - initiation song for boys and Kgogedi - initiation song for girls); Prayers of trust (e.g. Salane - a song of trust); Imprecatory songs (e.g. Leepo - song with irony); Law songs (e.g. Bana ba Modimo, thaetsang melao ya Modimo ka badimo - instruction song); Feasts (e.g. Ngwana malome nnyale - a lobola song and Hela Mmatswale, tlogela dipotwana - a wedding song). Finally the thesis provides a critical comparision between biblical psalms and Pedi psalm-like songs. The research demonstrates that, on the one hand, there are numerous interesting similarities between the two cultures’ songs with regard to a variety of aspects. On the other hand, the assessment also reveals substantial differences between the two musical traditions pertaining to an equally great number of issues.Thesis (PhD)--University of Pretoria, 2009.Biblical and Religious Studiesunrestricte

African women as moral agents : the moral implications of the status and role of women in their communities

Traditional ethical views have tended to define moral agency from the patriarchal perspective. Seen and defined from this perspective, it has been maintained that women are not transmitters or teachers of good morals, let alone makers of sound moral judgments. This biased stance on women and moral agency is not only prevalent in Western traditional ethical approaches. It is also found in the thinking and practice of contemporary African society. Contrary to traditional ethical views on moral agency, both Western and African, this work argues that African women are good moral agents. They have always demonstrated moral responsibility through participation in the overall life of their society. To ensure maximum participation of all African women in society, the dissertation suggests that a process of conscientization for a liberative culture should become a priority for African society.Philosophy, Practical and Systematic TheologyM. Th. (Theological Ethics

The value of traditional African religious music into liturgy : Lobethal congregation

The purpose of this study was to discover whether the integration of traditional African religious music into Evangelical Lutheran liturgical church services, could effect a change in member attendance and/or participation. To achieve this, the study employed direct observation, video recordings and informal interviews. In addition, church records of attendance during Holy Communion once a month between 2008 and 2013 were accessed. The study was done at the Evangelical Lutheran Church of the Lobethal Congregation (Arkona Parish, Northern Diocese, Sekhukhune District, Limpopo Province, South Africa). It was demonstrated that church attendance increased dramatically after traditional African religious music was introduced into the Evangelical Lutheran liturgical services in 2011. Observations and video recordings showed that drums, rattles, horns and whistles were used. Handclapping was seen to act almost as a metronome, which steadily maintained the tempo. It was concluded that introducing traditional African religious music into Evangelical Lutheran liturgical church services has increased attendance and participation of church members. Therefore, the introduction of African religious music could be considered for other Evangelical Lutheran congregations in Africa.National Research Foundation (NRF)http://www.hts.org.za/am201

Music, singing and dancing in relation to the use of the harp and the ram’s horn or shofar in the Bible : what do we know about this?

There are many possible approaches to describing the effects and uses of music in a particular society. It would be a mistake to assume that music in the Bible is not the cement of social life and has no liturgical significance. The present study seeks to explore how people in ancient times employed music using the harp and the ram’s horn (shofar), to cope with roles that were open or never-ending in their demands. In particular, it focuses upon the role played by music in secular life as well as religious rituals, as described in the Bible. The method used was an extensive literature study of the Old and New Testament, textbooks and relevant peer reviewed journals, with a focus on both secular and religious reasons for singing, dancing and playing instruments. It was found that the Bible described the use of the harp and the ram’s horn associated with singing and dancing during celebrations, for military use, as well as mourning or lamentation. It was concluded that music using different instruments, including the harp and shofar, helped people to cope with the demands of everyday life and thus played an important role in both secular life and religious rituals in biblical times.National Research Foundation (NRF)http://www.hts.org.zatm201

The cultural and historical significance of malopo ritual : a Pedi perspective

Indeed, the implicit hypothesis that “there is little possibility, if any, for the Pedi traditional healers to experience the supernatural form of healing without performing music and dancing to it” raises the issue of “What makes the dance potent as a healing therapy?” or ‘What is the role of music in such healing processes?’. This article is a result of a guided investigation carried out in order to answer these questions. The primary sources for data collection were literature reviews, informal interviews, observations and recordings. During the study, informal discussions with traditional healers and their trainees revealed that participation in malopo rituals enables community members to inherit their music tradition. The impression created during interviews and observations was that Pedi traditional healers perform malopo songs to communicate with the ancestors. The results suggest that malopo rituals are aimed at enriching the personal and social life of the Pedi community.http://www.ufs.ac.za/ActaTheologicahb201