Of Gospel Hymns, Minstrel Shows, and Jubilee Singers: Toward Some Black South African Musics

Cockrell, Dale

doi:10.2307/3051450

Cited by 11 publications

(4 citation statements)

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“…Barani Afrika na hasa nchini Kenya, nyimbo za injili zilianzishwa na Wamishenari miaka ya 1940 zikiwa zimenakiliwa katika vitabu vya nyimbo kama vile Golden Bells (Omojola, 1987). Nyimbo hizo zilizingatia mitindo ya nyimbo jadiya za Wanegro (Cockrell, 1987;Chitando, 2000). Baadaye nyimbo hizo zilitafsiriwa kwa lugha za Kiafrika ambapo mwimbaji David Nzomo alitafsiri baadhi yazo kwa lugha ya Kikamba (Mwendwa, 2020) na huimbwa zikizingatia taratibu za kimapokeo (Akuno, 2007).…”

Section: Utanguliziunclassified

Matumizi ya Usohalisia wa Kihistografia katika Nyimbo Teule za Kisasa za Injili za Kikamba

Kang’e,

Kobia,

Musyimi

2023

J. Afr. Mashariki Kiswahili

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Usohalisia ni kipengele muhimu kinachodhihirika katika tungo za kisasa za fasihi. Watunzi wa fasihi ya kisasa hutumia mtindo wa usohalisia kwa namna mbili kuu ambazo ni ujirejelezi wa mtunzi na usohalisia wa kihistografia. Makala haya yamefafanua jinsi usohalisia wa kihistografia ulivyotumika katika nyimbo teule za kisasa za injili za Kikamba. Nyimbo za kisasa za injili za Kikamba zimerejelewa ili kuwakilisha nyimbo za kisasa za injili zilizoimbwa kwa lugha yoyote nchini Kenya. Utanzu wa nyimbo za injili umeteuliwa kwa sababu kutoka miaka ya elfu mbili umedhihirisha mabadiliko si haba ya kuuwasilisha kwa hadhira bali na kuwa utanzu pendwa. Makala haya yametumia mtazamo wa kiusasaleo kuchanganua matini za nyimbo teule za kisasa za injili za Kikamba. Mtazamo wa kiusasaleo hushuku na kupinga mitazamo ya kijadi na kupendekeza mitindo mipya ya kuwasilisha tungo za fasihi ya kisasa. Kutokana na uchanganuzi, iligunduliwa kuwa matumizi ya mtindo wa usohalisia wa kihistografia yalidhihirika kwa namna kadhaa katika nyimbo za injili za kisasa za Kikamba zilizoteuliwa kuchunguzwa. Matumizi ya mtindo wa usohalisia yalidhihirika kupitia utumiaji wa mbinu mbalimbali ambazo zimefafanuliwa na makala haya

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Section: Utanguliziunclassified

Matumizi ya Usohalisia wa Kihistografia katika Nyimbo Teule za Kisasa za Injili za Kikamba

Kang’e,

Kobia,

Musyimi

2023

J. Afr. Mashariki Kiswahili

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“…THis complex is represented by three parading 'disciplines' in which the Christmas Bands have played an integral role. THe other two are the Malay Choirs -choral ensembles formed predominantly by descendents of the slaves from southeast Asia (see Davids 1985;Desai 1985;Du Plessis 1935, 1972 and the Klopse -carnival troupes influenced by U.S. blackface minstrelsy (see Cockrell 1987;Jeppe 1990;Erlmann 1991Erlmann , 1996Erlmann , 1999Martin 1999). (Both disciplines have used members of the Christmas Bands to accompany their parades.)…”

Section: Usical Sou N D O F Com M Unitymentioning

confidence: 99%

Parading respectability: the Christmas Bands Movement in the Western Cape, South Africa and the constitution of subjectivity.

Bruinders¹

2010

Afr. music

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Christmas Eve 2005 has finally arrived. The St. Joseph' s Christmas band gathers at around 10p.m. at their clubhouse, the home of the founder member in Fairways, a middle class neighborhood in the southern suburbs of Cape Town. They make their final preparations for their all-night house visitations to the lower middle class area of Mitchell' s Plain where several band members live. They are neatly dressed in a uniform consisting of trousers, belt, shirt and shoes (all white), yellow tie, black blazer with badge, and a black and yellow band tied around the hat which has a dark feather placed dashingly on the right-hand side.1 2 After traveling to Mitchell' s Plain by bus, band members disembark a little distance from the home they will be visiting, and gather in marching files -three abreast -on the left-hand side of the road. The marching files are led by three voorlopers (drum majors)3 starting with the ' senior' voorloper -Mr. Cecil Toockley, followed by the ' junior' voorloper -eleven-year-old Cheslyn Noble and the 'tiny tot' voorloper -six-year-old Brighton Esau. Mr. Toockley calls out briskly, "By the left, quick, march!" which sets the band enacting a military-style parade to the member' s home. They accompany their parade with, "Fairest Lord Jesus,"4 played up-tempo on wind and string instruments. Once they reach the house, they gather in a semicircle at the gate to perform two Christmas carols for the awaiting family and neighbors outside. They receive a huge tafel (a table of foods) of local delicacies. Thereafter a member of the band addresses the family and another member is asked to pray before they line up in formation and march back to the bus waiting to transport them to the next family. They perform the same ritual at several members' houses that evening. The hours pass by and it reaches the most beautiful time of the morning -around 3a.m. to 4a.m. It is incredibly quiet and the sea air is fresh. As the band marches by the sleeping houses lights are turned on as some of the occupants peep through the windows to watch them and cheer excitedly; others wave at them sleepily.In my research on the Christmas Bands Movement in the Western Cape (November 2003 to March 2006, which this extract from my field notes speaks to, I have often observed how important it is for the bands to display their respectability and discipline.

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“…7 The Coon Carnival derives historically from the Black Face Minstrel performances of British and American performers who travelled to South Africa in the nineteenth century. Local black and white groups were formed, modelling themselves on the overseas performance (see Cockrell 1987, Coplan 1985and Erlmann 1991. There was a period through the apartheid years when the carnival was not held because it was felt by the community to be racist in stereotype, and because movement through central urban spaces was strictly controlled by the state, particularly in the 1980s.…”

Section: In Exile In South Africa In the 1950s And Early 1960smentioning

confidence: 99%

Sathima Bea Benjamin, exile and the ‘Southern Touch’ in Jazz creation and performance

Muller

1996

African Languages and Cultures

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Of Gospel Hymns, Minstrel Shows, and Jubilee Singers: Toward Some Black South African Musics

Cited by 11 publications

References 0 publications

Matumizi ya Usohalisia wa Kihistografia katika Nyimbo Teule za Kisasa za Injili za Kikamba

Matumizi ya Usohalisia wa Kihistografia katika Nyimbo Teule za Kisasa za Injili za Kikamba

Parading respectability: the Christmas Bands Movement in the Western Cape, South Africa and the constitution of subjectivity.

Sathima Bea Benjamin, exile and the ‘Southern Touch’ in Jazz creation and performance

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