Language, Music, Self-Representation and Claiming the Space: Artists from Limpopo Province in South Africa

Kealeboga Aiseng

doi:10.25159/2663-6565/10260

Authors

Kealeboga Aiseng University of the Witwatersrand https://orcid.org/0000-0002-5684-9519

DOI:

https://doi.org/10.25159/2663-6565/10260

Keywords:

Self-representation, Limpopo, popular culture, Master KG, small-status languages, textual analysis

Abstract

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.

Metrics

Metrics Loading ...

References

Adegoke, A. A. 2011. “Language and Identity Representation in Popular Music.” International Journal of Innovative Interdisciplinary Research 1 (1): 150–64. Accessed September 5, 2022. https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.472.8178&rep=rep1&type=pdf.

Alexander, M. 2020. “The 11 Languages of South Africa.” South Africa Gateway, Updated May 29, 2021. Accessed March 20, 2021. https://southafrica-info.com/arts-culture/11-languages-south-africa/.

Amery, R. 2016. Warraparna Kaurna!: Reclaiming an Australian Language. Adelaide: University of Adelaide Press. https://doi.org/10.20851/kaurna. DOI: https://doi.org/10.20851/kaurna

Bakhtin, M. 1981. The Dialogic Imagination: Four Essays. Austin, TX. University of Texas Press.

Banda, F. 2019. “Beyond Language Crossing: Exploring Multilingualism and Multicultural Identities through Popular Music Lyrics.” Journal of Multicultural Discourses 14 (4): 373–89. https://doi.org/10.1080/17447143.2019.1645144. DOI: https://doi.org/10.1080/17447143.2019.1645144

Bernstein, M. 2005. “Identity Politics.” Annual Review of Sociology 31: 47–74. https://doi.org/10.1146/annurev.soc.29.010202.100054. DOI: https://doi.org/10.1146/annurev.soc.29.010202.100054

Bohlman, P. V. 2011. “When Migration Ends, When Music Ceases.” Music and Arts in Action 3 (3): 148–65.

Brandellero, A., and S. Janssen. 2014. “Popular Music as Cultural Heritage: Scoping Out the Field of Practice.” International Journal of Heritage Studies 20 (3): 224–40. https://doi.org/10.1080/13527258.2013.779294. DOI: https://doi.org/10.1080/13527258.2013.779294

Bucholtz, M., and K. Hall. 2004. “Language and Identity.” In A Companion to Linguistic Anthropology, edited by A. Duranti, 369–94. London: Blackwell. https://doi.org/10.1002/9780470996522.ch16. DOI: https://doi.org/10.1002/9780470996522.ch16

Chirinos-Espin, C. 2021. “Music and Culture in Entertainment-Education.” In Entertainment-Education Behind the Scenes, edited by L. B. Frank and P. Falzone, 121–35. Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-63614-2_8. DOI: https://doi.org/10.1007/978-3-030-63614-2_8

Danaher, W. F. 2010. “Music and Social Movements.” Sociology Compass 4 (9): 811–23. https://doi.org/10.1111/j.1751-9020.2010.00310.x. DOI: https://doi.org/10.1111/j.1751-9020.2010.00310.x

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. DOI: 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. DOI: 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/.

Georges, F. 2009. “Self-Representation and Digital Identity: A Semiotic and Quali-Quantitative Approach to the Cultural Empowerment of the Web 2.0.” Reseaux 154 (2): 165–93. https://doi.org/10.3917/res.154.0165. DOI: https://doi.org/10.3917/res.154.0165

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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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. DOI: 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.

McCarthy, T. L., and S. E. Nicholas. 2014. “Reclaiming Indigenous Languages: A Reconsideration of the Roles and Responsibilities of Schools.” Review of Research in Education 38 (1): 106–34. https://doi.org/10.3102/0091732X13507894. DOI: https://doi.org/10.3102/0091732X13507894

Mercuri, S. P. 2012. “Understanding the Interconnectedness between Language Choices, Cultural Identity Construction and School Practices in the Life of a Latina Educator.” Gist Education and Learning Research Journal 6: 12–43.

Mofokeng, L. 2018. “Bolobedu Hitmaker Master KG in the Right Situation and Going Places.” Sowetan Live, July 22, 2018. Accessed May 13, 2022. https://www.sowetanlive.co.za/entertainment/2018-07-22-bolobedu-hitmaker-master-kg-in-the-right-situation-and-going-places/.

Mojapelo, M. 2008. Beyond Memory: Recording the History, Moments and Memories of South African Music. Edited by S. Galane. Somerset West: African Minds. DOI: https://doi.org/10.47622/9781920299286

Moody, A. 2013. “Language Ideology in the Discourse of Popular Culture.” In The Encyclopaedia of Applied Linguistics, edited by C. A. Chapelle, 1–3. New York, NY: Blackwell Publishing. https://doi.org/10.1002/9781405198431.wbeal0626. DOI: https://doi.org/10.1002/9781405198431.wbeal0626

Nkosi, J. 2020. “Makhadzi Biography, Age, Profile, Awards, Background, Education.” The Nation, November 28, 2020. Accessed May 16, 2022. https://thenation.co.za/bio/makhadzi-biography/#Awards.

Obiero, O. J. 2010. “From Assessing Language Endangerment or Vitality to Creating and Evaluating Language Revitalization Programs.” Nordic Journal of African Studies 19 (4): 247–68. https://njas.fi/njas/article/view/195/186.

Piller, I. 2015. “Language Ideologies.” In The International Encyclopaedia of Language and Social Interaction, edited by K. Tracy, C. Ilie and T. Sandel, 917–27. London: John Wiley and Sons. https://doi.org/10.1002/9781118611463.wbielsi140. DOI: https://doi.org/10.1002/9781118611463.wbielsi140

Pires, P. C. 2017. “The Presentation of the Self in the Popular Song.” In Popular Music Studies Today, edited by J. Merrill, 53–60. London: Springer. https://doi.org/10.1007/978-3-658-17740-9_5. DOI: https://doi.org/10.1007/978-3-658-17740-9_5

Profileability. n.d. “Sho Madjozi.” Accessed May 19, 2022. https://profileability.com/sho-madjozi/#.YoYom-hByUk.

Railton, D., and P. Watson. 2005. “Naughty Girls and Red-Blooded Women: Representations of Female Heterosexuality in Music Video.” Feminist Media Studies 5 (1): 51–64. https://doi.org/10.1080/14680770500058207. DOI: https://doi.org/10.1080/14680770500058207

Rees, H. 2016. “Environmental Crisis, Cultural Loss, and New Music Aesthetic: China’s ‘Original Ecology Folksongs’ in Theory and Practice.” Ethnomusicology 60 (1): 53–88. https://doi.org/10.5406/ethnomusicology.60.1.0053. DOI: https://doi.org/10.5406/ethnomusicology.60.1.0053

Rettberg, J. W. 2018. “Self-Representation in Social Media.” In SAGE Handbook of Socia Media, edited by J. Burgess, A. Marwick, and T. Poell, 429–43. London: Sage. https://doi.org/10.4135/9781473984066.n24. DOI: https://doi.org/10.4135/9781473984066.n24

Simmert, T. 2015. “Media and Mobility in South African House Music.” Journal of African Media Studies 7 (1): 87–99. https://doi.org/10.1386/jams.7.1.87_1. DOI: https://doi.org/10.1386/jams.7.1.87_1

Spotify. 2020. “Jerusalema, the Limpopo House Track That Got the World Dancing.” October 29, 2020. Accessed May 13, 2022. https://newsroom.spotify.com/2020-10-29/jerusalema-the-limpopo-house-track-that-got-the-world-dancing/.

Sugimura, M. 2015. “Roles of Language in Multicultural Education in the Context of Internationalisation.” Education Studies in Japan: International Yearbook 9: 3–15. https://doi.org/10.7571/esjkyoiku.9.3. DOI: https://doi.org/10.7571/esjkyoiku.9.3

Wamalwa, E. W., and S. B. J. Oluoch. 2013. “Language Endangerment and Language Maintenance: Can Endangered Indigenous Languages of Kenya Be Electronically Preserved?” International Journal of Humanities and Social Sciences 3 (7): 258–66. https://www.ijhssnet.com/journals/Vol_3_No_7_April_2013/28.pdf.

Whaley, L. 2003. “The Future of Native Languages.” Futures 35 (9): 961–73. https://doi.org/10.1016/S0016-3287(03)00052-1. DOI: https://doi.org/10.1016/S0016-3287(03)00052-1

Wirth, L. 1945. “The Problem with Minority Groups.” In The Science of Man in the World Crisis, edited by R. Linton, 347–72. New York, NY: Columbia University Press.

WorldMeters. 2021. “South African Population.” Accessed March 20, 2021. https://www.worldometers.info/world-population/south-africa-population/.

Vallejo, J. M. 2019. “Revitalising Language through Music: A Case Study of Music and Culturally Grounded Pedagogy in Two Kanien’ke:Ha (Mohawk) Language Immersion Programmes.” Ethnomusicology Forum 28 (1): 89–117. https://doi.org/10.1080/17411912.2019.1641124. DOI: https://doi.org/10.1080/17411912.2019.1641124

Van Dijck, J. 2013. “‘You Have One Identity’: Performing the Self on Facebook and LinkedIn.” Media, Culture Society 35 (2): 199–215. https://doi.org/10.1177/0163443712468605. DOI: https://doi.org/10.1177/0163443712468605

Zeeman, K. 2019. “Sho Madjozi’s Secret to Global Success: I Make Music for People in Limpopo.” TimesLIVE, March 24, 2019. Accessed May 13, 2022. https://www.timeslive.co.za/sunday-times/lifestyle/2019-03-24-sho-madjozis-secret-to-global-success-i-make-music-for-people-in-limpopo/.

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.