Language, Music, Self-Representation and Claiming the Space: Artists from Limpopo Province in South Africa
DOI:
https://doi.org/10.25159/2663-6565/10260Keywords:
Self-representation, Limpopo, popular culture, Master KG, small-status languages, textual analysisAbstract
It is widely accepted that popular culture is a product of the masses, for the masses. But even then, popular culture is embedded with ideologies of control, manipulation, power dynamics, exclusion and inclusion, empowerment, and disempowerment. For a long time, the South African mainstream music industry has been dominated by artists and groups from Gauteng and KwaZulu-Natal provinces. These two provinces have produced many musical artists, film productions, television shows and many other artistic personnel. Language has always been a key factor in the South African mainstream music industry. IsiZulu, isiXhosa and instances of codeswitching have dominated the songs in the country. This has left other social groups and their languages outside mainstream music. However, what happens when a culture of self-representation emerges among a social group? What happens when a social group mobilises itself and claims the space? What about the power of languages in achieving self-representation? This study is influenced by these research questions to do qualitative, textual research on how a selected group of musical artists from Limpopo, South Africa is using music to achieve self-representation.
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Discography
King Monada, vocalist. 2018. “Malwedhe.” Single. Open Mic Production.
Makhadzi, vocalist. 2019. “Matorokisi.” Track 6 on Matorokisi. Open Mic Production.
Makhadzi, vocalist. 2020. Kokovha. Open Mic Productions.
Master KG, featuring Zanda Zakuza and Makhadzi, vocalists. 2019. “Di Boya Limpopo.” Single. Open Mic Production.
Sho Madjozi, vocalist. 2019. “John Cena.” Single. Jozi Records.
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Dovchin, S. 2011. “Performing Identity through Language: The Local Practices of Urban Youth Populations in Post-Socialist Mongolia.” Inner Asia 13 (2): 315–33. https://doi.org/10.1163/000000011799297618.
Dympna, O. C. 2018. “An Assessment of Nigerian Musical Videos’ Representation of Nigerian Culture.” Research on Humanities and Social Sciences 8 (15): 23–29. Accessed August 31, 2022. https://core.ac.uk/download/pdf/234676419.pdf.
Evans, N. 2017. “The Importance of Documenting Indigenous African Sheet Music.” In Proceeding of the 4th International Conference on Arts and Humanities, Vol. 4, 107–17. Pitakotte: TIIKM Publishing. https://doi.org/10.17501/icoah.2017.4111.
Gedye, L. 2020. “Matorokisi Ignites a Global Groove.” Mail & Guardian, February 28, 2020. Accessed May 17, 2022. https://mg.co.za/friday/2020-02-28-matorokisi-ignites-a-global-groove/.
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Gericke, J. S. 2006. “Kwaito: A Developing Inter-Racial Phenomenon?” Journal of the Musical Arts in Africa 3 (1): 94–105. https://doi.org/10.2989/18121000609486712.
Goffman, E. 1959. The Presentation of Self in Everyday Life. New York, NY. Anchor Books.
Grant, C. F. 2014. Music Endangerment: How Language Maintenance Can Help. New York, NY: Oxford Academic. https://doi.org/10.1093/acprof:oso/9780199352173.001.0001.
Grant, C. F. 2018. “A Case for Greater Interdisciplinary Collaboration in Language and Music Revitalization.” In The Routledge Handbook of Language Revitalization, edited by L. Hinton, L. Huss and G. Roche, 236–44. London: Routledge. https://doi.org/10.4324/9781315561271-30.
Green, R. 2010. “Reclamation Process for Dharug in Sydney Using Song.” In Re-awakening Languages: Theory and Practice in the Revitalization of Australia’s Indigenous Languages, edited by J. Hobson, K. Lowe, S. Poetsch and M. Walsh, 199–207. Sydney: Sydney University Press. https://open.sydneyuniversitypress.com.au/files/9781920899554.pdf.
Grenoble, L. A. 2013. “Language Revitalization.” In The Oxford Handbook of Sociolinguistics, edited by R. Bayley, R. Cameron and C. Lucas, 792–811. New York, NY: Oxford Academic. https://doi.org/10.1093/oxfordhb/9780199744084.013.0039.
Hall, M., and S. Caton. 2017. “Am I Who I Say I Am? Unobtrusive Self-Representation and Personality Recognition on Facebook.” PLoS ONE 12 (9): 1–23. https://doi.org/10.1371/journal.pone.0184417.
Hammer, Y. 2007. “Multiculturalism and the Mass Media.” Law and Ethics of Human Rights 1 (1): 169–212. https://doi.org/10.2202/1938-2545.1005.
Hinton, L., ed. 2013. Bringing Our Languages Home: Language Revitalization for Families. Berkeley, CA: Heyday Books.
Hogan, B. 2010. “The Presentation of Self in the Age of Social Media: Distinguishing Performances and Exhibitions Online.” Bulletin of Science, Technology and Society 30 (6): 377–86. https://doi.org/10.1177/0270467610385893.
Hornberger, N. H., H. De Korne, and M. Weinberg. 2016. “Ways of Talking (and Acting) about Language Reclamation: An Ethnographic Perspective on Learning Lenape in Pennsylvania.” Journal of Language, Identity and Education 15 (1): 44–58. https://doi.org/10.1080/15348458.2016.1113135.
Ibekwe, E. U. 2010. “Musicians and the Philosophical Dimension of African Man.” Awka Journal of Research in Music and the Arts 7: 33–45.
Ibekwe, E. U. 2017. “Musicians the Nation-Building—Need for Quality Control: Old and New Generation Music and Musicians Exemplified.” UJAH: Unizik Journal of Arts and Humanities 17 (3): 160–80. https://doi.org/10.4314/ujah.v17i3.8.
Johnson, H. 2012. “‘The Group from the West’: Song, Endangered Language and Sonic Activism on Guernsey.” Journal of Marine and Island Cultures 1 (2): 99–112. https://doi.org/10.1016/j.imic.2012.11.006.
Joyce, L. K. 2018. “The Rise and Rise of Sho Madjozi.” Cape Argus, December 24, 2018. Accessed May 17, 2022. https://www.pressreader.com/south-africa/cape-argus/20181224/281496457396554.
Kekana, C. 2018. “Watch | King Monada Is Talking Khelobedu to the World with Malwede!” TimesLIVE, November 13, 2018. Accessed May 13, 2022. https://www.timeslive.co.za/tshisa-live/tshisa-live/2018-11-13-watch--king-monada-is-taking-khelobedu-to-the-world-with-malwede/.
Kumar, C. 2011. “Multiculturalism in a Global Society: Minority Rights and Justice.” Research on Humanities and Social Sciences 1 (3): 21–32. Accessed September 5, 2022. https://www.researchgate.net/publication/228518377_Multiculturalism_in_a_Global_Society_Minority_Rights_and_Justice.
Larsen, G., R. Lawson, and S. Todd. 2009. “The Consumption of Music as Self-Representation in Social Interaction.” Australasian Marketing Journal 17 (1): 16–24. https://doi.org/10.1016/j.ausmj.2009.01.006.
Leonard, W. Y. 2012. “Framing Language Reclamation Programmes for Everybody’s Empowerment.” Gender and Language 6 (2): 339–67. https://doi.org/10.1558/genl.v6i2.339.
Leonard, W. Y. 2017. “Producing Language Reclamation by Decolonizing ‘Language’.” In Language Documentation and Description, edited by W. Y. Leonard and H. De Korne, 15–36. London: EL Publishing.
Lewis, H. 2010. “Community Moments: Integration and Transnationalism at ‘Refuge’ Parties and Events.” Journal of Refuge Studies 32 (4): 571–88. https://doi.org/10.1093/jrs/feq037.
Liadi, O. F. 2012. “Multilingualism and Hip-Hop Consumption in Nigeria: Accounting for the Local Acceptance of a Global Phenomenon.” Africa Spectrum 47 (1): 3–19. https://doi.org/10.1177/000203971204700101.
Lidskog, R. 2016. “The Role of Music in Ethnic Identity Formation in Diaspora: A Research Review.” International Social Science Journal 66 (219–220): 23–38. https://doi.org/10.1111/issj.12091.
Lobley, N. 2018. “Hyperactive Musical Communities On- and Offline: Dancing and Producing Chicago Footwork, Shangaan Electro, and Gqom.” In The Routledge Companion to the Study of Local Musicking, edited by K. Brucher and S. A. Reily, 55–66. London: Routledge. https://doi.org/10.4324/9781315687353-6.
Lundberg, D. 2010. “Music and Identity Maker: Individual Vs. Collective.” In “Music and Migration,” edited by M. de São José Côrte-Real, special issue, Migracoes Journal 7: 29–43.
Maliba, A. 2021. “Makhadzi Counts Her Blessings as She Rises.” Independent Online, September 8, 2021. Accessed May 12, 2022. https://www.iol.co.za/sundayindependent/life/makhadzi-counts-her-blessings-as-she-rises-8d635626-8f05-4908-8062-c6986abdc1cf.
Mandla, S. 2020. “Sho Madjozi Is Making a Documentary about Traditional Tsonga Attire.” Sahiphopmag, July 3, 2020. Accessed May 19, 2022. https://sahiphopmag.co.za/2020/07/sho-madjozi-is-making-a-documentary-about-the-traditional-tsonga-attire/.
Maseng, J. O. 2018. “Exploring the Role of Social Media and Celebrities in Advancing Social Cohesion amongst South African Youth.” Paper presented at the Africa Youth Graduates and Scholars (AYGS) Conference, 2018, Johannesburg, South Africa, March 11–16.
Mavundza, B. 2018. “The ‘Fainting’ Dance Craze Taking Over South Africa Is Now Infecting Nigeria, Kenya and Tanzania—And Has Already Hit China.” Business Insider South Africa, November 12, 2018. Accessed May 17, 2022. https://www.businessinsider.co.za/the-fainting-dance-craze-taking-over-south-africa-is-infecting-the-rest-of-africa-2018-11.
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Discography
King Monada, vocalist. 2018. “Malwedhe.” Single. Open Mic Production.
Makhadzi, vocalist. 2019. “Matorokisi.” Track 6 on Matorokisi. Open Mic Production.
Makhadzi, vocalist. 2020. Kokovha. Open Mic Productions.
Master KG, featuring Zanda Zakuza and Makhadzi, vocalists. 2019. “Di Boya Limpopo.” Single. Open Mic Production.
Sho Madjozi, vocalist. 2019. “John Cena.” Single. Jozi Records.
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Published
2022-09-28
How to Cite
Aiseng, Kealeboga. 2022. “Language, Music, Self-Representation and Claiming the Space: Artists from Limpopo Province in South Africa”. Imbizo 13 (2):25 pages . https://doi.org/10.25159/2663-6565/10260.
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