https://ir.unisa.ac.za/handle/10500/27507 2026-05-13T01:58:16Z 2026-05-13T01:58:16Z Bombo, Ndabuzekwayo https://ir.unisa.ac.za/handle/10500/30456 2023-08-28T11:48:14Z 2022-08-01T00:00:00Z

Shaka Inkosi YamaKhosi Bombo, Ndabuzekwayo Shaka Inkosi yamaKhosi is a short animation film that is set on the narrative of uShaka ka Senzangakhona – the ruler of the Zulu kingdom/nation. A short synopsis is presented below before a full description of the work ispresented. A young meek boy, Manzini is bullied by three boys on his way back from school in an incident that almost costs him his life. Manzini confesses to his Gogo his desire to quit school. His Gogo narrates a profound tale of resilience evoking the coming-of-age story of a great King, Shaka Zulu, to inspire her grandson through the strength of his lineage. Transporting viewers to the 1700s in the grasslands of KwaZulu-Natal, Queen Nandi gives birth to uShaka who was illegitimately fathered by Senzangakhona Ka Jama a prince of the Jama tribe. We follow the grooming of uShaka into a conqueror and influential King of the Zulu kingdom/nation. Composing the score for this short film was an interesting but challenging project where the emotion and tone of the picture were influenced and informed by the score (music). This project sought to use amahubo akwaZulu and some indigenous Nguni instruments as the foundation of the score. The instruments I speak of are uGubhu which I sampled recordings of Princess Magogo ka Dinizulu in one of the scenes as a commemoration of the Princess because she was a musician herself and has strong ties with the Zulu lineage.This was one of the most difficult task because of many factors like the caliber of the instrument’s temperament, it neither 440 nor it is 442. I figured out that voicing plays a big role in hiding those imperfections within a chord or a progression. Open Fifths in the lower instruments such as double basses and Cellos accommodate the tuning differences all of these instruments have. The other challenge was the meter; the way she played her instrument was rubato but with a strong sense of structure, and with that, I was confident that there was some meter, which in this case ended up being 5/4 or 15/8. You can listen to this section at 05:54. The music score featured my original compositions and my arrangements/orchestration of traditional Zulu themes that were either sung before, during, or after the war (War cries), nursery rhymes from the Zulu culture, and a composition by King Shaka Zulu himself. My primary duty as the composer and arranger was to orchestrate all the above-mentioned music whilst preserving the authenticity of these themes. This was a strong effort towards contributing to decolonial projects that are emerging and the eminent 4IR since this project used animation as the medium. Animation availed the opportunity to introduce these indigenous themes to the younger generation who as per our prediction will be the consumers of this project and future custodians of this African heritage. Due to the lack of accessibility of these themes, this was a rare opportunity for me to be deliberate in making sure that these themes are at the forefront of the orchestration. One of the other interesting encounters I had while writing this score was how most of our themes do not have equal numbers of bars like the one featured at min 09:53 which is a call and response theme, the structure of the theme is 3+2+4+2 and the last 2 comes from the caller which I decided to also write in 5/4 and was divided in 3+2, This meant that the melody will shift within the bar line for 13 cycles before it goes back to 1. The narrative of the short film is told in juxtaposition between the past and present and the decision came from the music suggesting those undertones due to implementing modern instruments to these almost forgotten themes.

2022-08-01T00:00:00Z Bombo, Ndabuzekwayo Bombo, Ndabuzekwayo https://ir.unisa.ac.za/handle/10500/30454 2023-08-28T11:15:00Z 2020-08-01T00:00:00Z

Queen Nandi: The African symphony Bombo, Ndabuzekwayo; Bombo, Ndabuzekwayo Ndabo Zulu and Umgidi Ensemble, is aimed at enabling the necessary inclusion of Nguni traditional themes/songs to an existing hybrid orchestration and the ability to create a sonic space for these themes, which helped in documenting the music and the history that comes with it. And thus, expectantly attract more reciters/poets of these themes. The project is also aimed at eradicating the fast rate at which the Nguni poets are growing extinct due to the lack of any accurate inclusion system of these poets in modern orchestrations. Folk musicians carry with them a wealth of information and knowledge, yet there are still no clear set ways to preserve the history in their compositions or document their melodies accurately. The Umgidi Ensemble project sought to explore the notion of creating a space for indigenous themes and the poets that recite them. This was greatly beneficial when orchestrating for this ensemble as these folk musicians contributed to and became a part of this ensemble. I attempted writing for bow instruments, but it proved challenging to find professional musicians who play these instruments well and understand conventional music notation. Furthermore, there are limitations to conventional music notation when writing for African indigenous instruments or instrumentalists to perform at their optimum level. This observation is from past experiences as a practitioner and a scholar. Eastern indigenous music has always incorporated microtones, but it is still foreign terrain for most practitioners. This phenomenon is influenced by the fact that most western composers do not have these microtones in their repertoire which then creates a lack of awareness for practitioners who are students of western structured curricula. Likewise with African indigenous music, my project seeks to argue that the universal music notation systems (staff notation, tonic solfa) do not afford space of expression for African indigenous instruments/music. Umgidi Ensemble is a musical demonstration of how we can imagine sonic conversations of certain Nguni indigenous instruments and Western conventional instruments. The term ‘Umgidi’ is a Nguni term used for celebratory festivities, ranging from; an initiation of a girl or boy, a wedding ceremony, a thanksgiving event, or celebratory event that has a public invitation and a communal involvement. During all the above-mentioned events there would be a feast for the whole community or village. The feast includes the drinking of traditional beverages and quite central to the celebration is dancing, singing, and playing various musical instruments. Although Agawu might be speaking from a west African perspective – it is worth noting that ‘umgidi’ as a concept is also evident in other cultural articulations throughout the continent. Agawu notes the following: Africans are taught to be cheerful people: Cheerfulness was divided into ten parts; blacks got nine parts, the rest of humanity one. From here it is but a short step to the association of cheerfulness with merrymaking, itself inevitably accompanied by music and dance (2014: 4). As a means of evoking the “umgidi” musical practices, the project aimed at creating an ensemble which explored various instrumentations, sounds, and concepts towards a construction of what could be a possibility of a Nguni music ‘orchestration’. We have seen, heard and recorded these instruments in ensembles with conventional instruments in projects such as Power to the Women (2005), ‘Bafazi Dub’, Mvimbeni (2016) on ‘Modokali’. The focus of this project was a technical and theoretical one, this is to say; I will continue to be writing music for multiple instrumentations towards alternative modes theorizing and writing for indigenous music. Quite central to this project was the recording which seeks to demonstrate the communal outlooks to Nguni performance. This is to say that there is a level of totality embedded in how most African cultures view music as part of dance, dance as part of poetry. These two aspects have always been codependent in the Nguni tradition and in African tradition, Agawu notes: ‘To say in the beginning dance and music were together, like left and right, man and wife, or front and back, is not to exaggerate’ (Agawu, 2014: 73). Umgidi is a project that still needs more research and will go on for more years because I think it is important for the musical movement in South Africa. For more information about the compositions see links at the top the page.

2020-08-01T00:00:00Z Duby, Marc https://ir.unisa.ac.za/handle/10500/30297 2023-07-21T11:58:59Z 2022-01-01T00:00:00Z

Marc Duby More Garde Than Avant Happen(dot)Stance Duby, Marc

2022-01-01T00:00:00Z Mulungo, Bernett Nkwayi https://ir.unisa.ac.za/handle/10500/29222 2022-09-05T10:00:43Z 2019-11-28T00:00:00Z

Ndabe Zitha (String Quartet No: 1) Mulungo, Bernett Nkwayi Ndabe Zitha String Quartet No: 1 by Bernett Nkwayi Mulungo The writing of this composition, similarly, to the Gazankulu Suite written in the same year, was inspired by compositional questions I had during my teaching of the module African Composition at the university. The questions ranged from what is at the essence of African music in the modern compositional space to how an African composer (should) engage with his/her African music traditions and to reconcile their training in western ideology and their African heritage. Particularly, in relation to the active and ongoing discourse on Africanization, Decoloniality and Transformation in higher institutions, etc. In addition, South African institutions of higher learning, at large, often encounter significant challenges in the process of acquiring African music scores to facilitate the teaching and learning key area. The challenges range from a limited number of notated African music to copyright matters around the existing music scores. These challenges often lead to restrictions and constrains on the level of creativity in engaging students with African works at large. Therefore, the acknowledgement and inclusion of such creative outputs can begin the process of bridging the gap that is left by challenges mentioned here. There’s no large collection of a string quartet repertoire that is African oriented in sound. If there is, it has largely been arrangements/orchestration of existing African compositions. As practice, arrangements are a welcome addition. However, there is an opportunity to explore the area of original African compositions using a typically western ensemble structure – a string quartet. The challenges arise in balancing the technicalities of the instruments, the deeply rooted western composition practices, and the musical rudiments of African music - this was largely my dilemma in the creative process. The Ndabe Zitha String Quartet No:1 attempts to capture (in sound) the characters of the individuals it is dedicated to, from my maternal side of the family. As a complete work, it is a four-part movement as follows: 1st Movement – Nkwinika, 2nd Movement – Joshua’s Requiem, 3rd Movement – Nwa Mthevuye, and the 4th Movement – Mandlati – The Lost Found Bewildered. Across all the movements, there are common patterns in terms of melodic development, African inspired rhythmic patterns, and the use of ostinato patterns. The 1st movement is solely based on the idea of space, and this is evident in the minimal use of pitch changes, intervals structures, and rhythmic interaction across all four instruments. The 2nd and 4th movements are based on the idea of ostinato patterns and constant changes in time signatures and the overall rhythmic feel between African (or Jazz) music. The 3rd movement is also based on an ostinato pattern that is hovering underneath a rhythmically intense melodic structure in the violins. The overall composition idea here was to grant the lower string instruments more prominence in the music. It is evident in the analysis that the main themes are always carried by the lower instruments (the viola and cello), be it an ostinato pattern or otherwise. This approach germinates from my composition approach where I mostly begin with the basic harmonic structure and the bassline to generate an overall “mood” or “feel” of the composition. This work, as a whole, attempts to merge elements from the different areas in music that I have formally studied. These being Jazz, Western Art Music and African music. "Ndabe Zitha - String Quartet No: 1" is a string quartet work that is located within the African sound. Please use the URI link - under Identifiers - to access the recording of this work on YouTube platform.

2019-11-28T00:00:00Z