Sekgapa : a culture-based study of a musical tradition of BaPedi women of Mailula, Mmamabolo district, Limpopo Province, South Africa

Includes bibliographical references (leaves 86-88).This dissertation sets out to provide a culture-based study of BaPedi women's Sekgapa Music.The Preface presents the topic, the research environment and methodology, a review of the existing literature, fieldwork 'protocol' and a synopsis of the first recording events. Chapter 1 provides a historical background to the music, whose origins remain largely unaccounted for; and an account of the researcher's personal 'journey' which brought him to his research project. Chapter 2 concerns Sekgapa as a distinctive genre of women's music, reflecting their roles in BaPedi rural economy, and in their individual households, and community. There are also accounts ofSekgapa performance contexts and their social functions. Chapter 3 looks at some requirements of Sekgapa performance style (including dancing dress and delivery of Direlo Praises), something of the concepts underlying the musical action, and correlations between certain dance style variants and BaPedi totemic associations. Chapter 4 contains description of the sound instruments-the drums and their contribution to the music and playing methods and technique, (with some musical examples to illustrate thetext), and the construction of sound-making accessories (hand-and ankle-rattles). Chapter 5 provides descriptions of the basic musical components of Sekgapa-its form, structure and style, instrumental polyrhythm, vocal homophony (with musical examples and content and meanings of song-texts, using 10 songs as representative examples.) Chapter 6 provides reasons for the restricted scope of the musical analysis, and the use and function of Sekgapa performances for social education, directed at the youth. The research draws attention to the serious gap in African music research in South Africa, and in BaPedi musical culture generally. Andrew Tracey's urgent plea (1991) for the 'patronage' of African music and musicians work is recalled, because it is no less urgent today than it was fourteenyears ago. Tracey' stance on the matter of the unequal 'arts patronage situation' existing betv.een popular urban African music, which continues to enjoy government and media support. and cultural music in which musicians are denied this. is endorsed by the researcher, who reiterates the urgent need for African music conservation, through research and sustainable performance practice, before it is too late, and musical genres "stagnate" and disappear altogether