‘Basadi ba kae? [Where are the women?]: a history of the making of Sepedi (Sesotho sa Leboa) womanhood, 1935 – 1999
- Authors: Mahlo, Mathabo Makgare Betty
- Date: 2025-04-25
- Subjects: Northern Sotho language , Sotho (African people) , Women, Black Africa , Representation (Philosophy) , Missionaries , Berlin Mission Church (Transvaal, South Africa)
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/478465 , vital:78189
- Description: This study sought to explore the way an African ethnicity – namely the ‘Pedi’ ethnicity - emerged through literary texts and examined the representations of black African woman in vernacular texts from 1935 to 1990. This thesis is geographically situated in the Northern Transvaal, currently known as the Limpopo Province, the ‘homeland’ of Northern Sotho speakers (‘Sesotho sa Lebowa’ or ‘Basotho’ communities). It began by tracing the various stakeholders who utilised the terms ‘Pedi’ and ‘Bapedi’ to represent a federation of independent chiefdoms within the Lulu (or Leolo) Mountain valley. The noun ‘Pedi’ became - over the course of the nineteenth and twentieth century - an ethnic category, encompassing those who spoke one of the many Northern Sotho dialects. As the Berlin Missionary Society (BMS) expanded their missionary enterprise into the Transvaal in the 1860s, a Northern Sotho language was formalised – with the aid of black African Christian converts from different Northern Basotho’s chiefdoms. The formalisation of Northern Sotho as a language resulted in the creation of an artificial link between Northern Sotho communities and the Northern Sotho language by the Union of South Africa state. The state used this link as marker of ethnic difference, conflating speaking practices with ethnic units. In view of the foregoing, this study discussed the various historical processes that have informed our contemporary understanding of the ‘Pedi’ (henceforth referred to as Bapedi) – as an ethnic category. This study commenced with an understanding of the emergence of the ‘Basotho’ (Northern Basotho) subject, followed by the ways in which missionaries and black African Christian converts added cultural weight to this term through the formalisation of language, the particularisation of a Northern Sotho culture and the production of Northern Sotho print media. Within these texts, ideas around a Northern Sotho ethnicity were circulated. Additionally, within vernacular texts, appeared representations of black African women, which echoed missionary ideals of Christian womanhood and precolonial ideals of womanhood. This study foregrounded the discourse on the formation of the Northern Sotho ethnicity in the light of the representations of women in literary texts. This is because literary works were targeted at black African communities, and these works shaped black Africans’ own ideas of ethnicity and womanhood. , Thesis (MA) -- Faculty of Humanities, History, 2025
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- Date Issued: 2025-04-25
Enculturation and adaptation: a practice-led investigation into the history and contemporary transformation of the Bahananwa harepa
- Authors: Madiba, Elijah Moleseng
- Date: 2025-04-02
- Subjects: Enculturation , Gananwa (African people) , Gananwa dialect , Northern Sotho language , Stringed instruments South Africa Limpopo , Cultural identity , Pedi (African people)
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479607 , vital:78328 , DOI 10.21504/10962/479607
- Description: This thesis investigates the cultural and musical transformations of the harepa, a stringed instrument initially introduced as the autoharp by Christian missionaries in the late nineteenth century, now deeply embedded within the Basotho ba Lebowa community in Limpopo, South Africa. Through an interdisciplinary approach that blends historical ethnography with practice-led research, this thesis explores the harepa's negotiation of identity amidst the cultural shifts and modernisation affecting the community. The musical output of the harepa showcases a unique hybridity that fuses Basotho ba Lebowa traditions with Western musical influences. The aim of this research is to document the harepa instrument, analyse its music and transformation processes, highlight the musical history of research partners and emphasise the unique tunings which are distinct from Western standards. Employing methodologies that integrate participant observation, ethnographic interviews, and direct musical practice, the research engages with local musicians to understand the contemporary relevance of the harepa and its role in sustaining cultural heritage. It examines shifts in musical practices, the decline of traditional uses of the harepa, and efforts towards its revitalisation, including documenting musical repertoires and analysing performance practices. The findings highlight a complex narrative of enculturation, adaptation, and resistance, revealing the resilience of cultural identity through unique tuning systems that contrast sharply with Western musical paradigms. African tuning practices, characterised by their flexibility and reliance on auditory perception, challenge the adequacy of Western tuning methodologies. This study also investigates the potential of sampling as a method for the sonic representation of African music, advocating for a more culturally sensitive framework that respects the diversity of global musical traditions. By focusing on this localised musical phenomenon, the study illustrates broader cultural preservation and innovation dynamics within Limpopo's Basotho ba Lebowa community. It calls for ongoing dialogue and research to develop methodologies that reflect the unique cultural contexts of musical traditions worldwide. Ultimately, this work underscores the importance of engaged, practice-led research in documenting and revitalising endangered musical cultures in the face of globalisation and cultural homogenisation. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
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- Date Issued: 2025-04-02