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1.2 STATEMENT OF THE PROBLEM The research problem is the analysis of Basotho accordion music, in particular the evolutionary nature of the music, its creative production and attitude of Basotho towards the music. There has been a change of attitude among the Basotho towards accordion music, a lot of creativity to produce the music and the music has itself undergone evolutionary changes. The feeling among the Basotho is that, the accordion music is part of the Basotho oral literature and addresses the social, economic and political issues of the Basotho in general. As such, it is regarded as a reservoir of the Basotho customs, beliefs and a variety of language techniques, hence, its popularity among the Basotho. Although the musicians refer to these important issues, very little has been written about this music to show the didactic and nation building role accordion music plays among the Basotho nation. The study responds to the question of to what extent is accordion music can be seen as a traditional music of Basotho. In brief, the study argues that, indeed, Basotho accordion music is part of Basotho oral literature as it retains some of the orality features found in Sesotho oral literature. Since not much has been written about this genre, the research fills the gap through comparison of accordion music and some Sesotho oral genres in order to justify its being regarded as Basotho oral literature. That is, the period 1980 to 2005 had not seen much scholarly analysis of the Basotho accordion music; therefore, there is a need to carry out this study in an attempt to analyse in depth the propagation and refinement of the accordion music, considering its form, content and status among the Basotho. The study raises awareness with regards to the importance of this music and emphasizes that it deserves to be documented for future reference. 1.3 PURPOSE OF THE STUDY This study is a response to and a continuation of the spadework done by Coplan in various works (1985-1995), who relates the origins and the development of this music, focusing on its performance, although he attaches it to Basotho migrants which is not the case nowadays. 4
The aim of the study is to analyse the themes of the Basotho accordion music from 1980 to 2005. It examines a variety of thematic aspects which have been incorporated by the artists in the production of accordion music. The study also analyses the language used in the composition of the accordion songs and the rationale behind the employment of such language. It also aims at looking at the role of their music among the Basotho, and the reception of the accordion music by the Basotho. 1.4 VALUE OF THE RESEARCH This study helps to enhance the importance of this music socially, politically, economically and academically. Socially, this music carries along the cultural aspects that in some cases, guide us in our daily lives. As an embodiment of Basotho customs and beliefs, accordion music sets examples of behaviour worth practicing and those to avoid in life focusing on the Basotho in general. This aspect is in some cases, reflected through the experiences of the artists. Again, this study will contribute towards the social status of the artists, enhancing their dignity in the society as public figures that deserve respect as eyes and voices of the people. In contemporary times, politically, this music raises concerns of the public in the form of songs. It addresses the feelings of the public with regard to good governance and problems experienced by society due to political upheavals of Lesotho. Thus, in short, the artists do not only speak for themselves but for the nation as a whole. It is through this study that the public will learn that their concerns about the politics of Lesotho are encapsulated in accordion music. Economically, this music addresses the Basotho standard of living. Through this study, the public will learn that the artists are aware of the economic problems of Lesotho such 5
Page 1 and 2: ANALYSIS OF THE LANGUAGE TECHNIQUES
Page 3 and 4: OPSOMMING ONDERSOEK NA DIE TAALTEGN
Page 5 and 6: ACKNOWLEDGEMENTS I am indebted to P
Page 7 and 8: Accordion artists Accordion music F
Page 9 and 10: 2.2.1 Function --------------------
Page 11 and 12: a) Birth --------------------------
Page 13 and 14: 1.0 INTRODUCTION CHAPTER 1 INTRDODU
Page 15: 125,786 in 1990 to 57,989 in 2004 (
Page 19 and 20: Artists/singers refer to people who
Page 21 and 22: There are three major reasons for c
Page 23 and 24: women they wanted and took them int
Page 25 and 26: them to be known, have to start by
Page 27 and 28: Today shebeen singing, as retailed
Page 29 and 30: Moletsane (1982), Mokitimi and Copl
Page 31 and 32: gives highlights of the production
Page 33 and 34: from various groups enabled one to
Page 35 and 36: compare and contrast the status of
Page 37 and 38: 2.0 INTRODUCTION CHAPTER 2 THEORETI
Page 39 and 40: maintenance of the structural conti
Page 41 and 42: Parsons (1999:3) and others again v
Page 43 and 44: 2.2.3 CONSENSUS Consensus refers to
Page 45 and 46: 2.3 CONCLUSION Functionalism, in it
Page 47 and 48: ethnic group and who observes and p
Page 49 and 50: Although, given the above informati
Page 51 and 52: • Journalists from different quar
Page 53 and 54: fell off from the horses together w
Page 55 and 56: Concerning institutions, one may re
Page 57 and 58: maintaining one’s identity. The m
Page 59 and 60: Concerning the Lesotho Evangelical
Page 61 and 62: Mapefane, whose first album Bo-Mape
Page 63 and 64: With the changing times, the instru
Page 65 and 66: age minstrels. Regardless of this n
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Congress Party (B.C.P.) won the ele
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that were held at ‘Manthabiseng C
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It is worthwhile to give a general
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also dancers. The lead-singer somet
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Although there are important reason
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3.3.5 MUSICAL INSTRUMENTS In the ea
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3.3.7 ACCORDION MUSIC AND ITS RECEP
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etained and maintained as they list
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(iv) Thematic aspects Some people s
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manner, relate and describe whateve
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attractive, and, in some cases, div
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is a Mofokeng (of the hare), he is
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3.4 CONCLUSION Based on the given i
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speech in this music helps to retai
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considerably, and depends mainly on
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Father of Lerotholi, the locusts’
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The one who has lacks swift running
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other individuals; all in all, it r
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One could say that the use of prove
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Ngoana o tšoana le `m’ae, o tsam
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“Lebelo lea fela thota e sale”
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a) Proverbs used as titles of songs
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of this word, one finds it to be ca
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homestead. In this way, the artist
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The usage of these features also di
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Apostrophe is further carried on in
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There is a common feeling among the
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Among the Basotho, head-dressing is
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had from the boys. She prefers to u
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esult, she boldly tells him how to
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Someone who was feared by all the p
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One also observes the adopted descr
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In line four, there is another exag
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feelings and our understanding. The
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in order to get in, especially when
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focus on the development of the are
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it goes deep down in our inner feel
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chief is expected to cater for the
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uses the word “kolla” meaning,
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him that it was a viper pretending
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that prompts Basotho to love accord
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herd-boy, the artist brings such ex
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When Famole likens himself to hail,
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Kunene (1971:68) writes about aesth
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Motho o bolaoa ke mokhotsi ke oa ha
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with Maama and Seeiso who are his u
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Ba bang ba re ke ile Molumong thabe
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the tip of people’s tongues; they
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Chakela litsietsi li tsoaloa le mot
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Bongata bo a hana bo a latola, Ba r
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contaminated water in order to prov
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There is another interesting part h
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CHAPTER 5 THEMATIC ASPECTS OF BASOT
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e said that with accordion artists,
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serve. This is what Radcliffe-Brown
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The tall and hefty one, The wife of
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etween individuals. This form of id
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This question is meant to make such
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I live at Mohale’s Hoek that is w
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You ask me who is my chief, I am th
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‘Na ke hotse le bashanyana, Ke ho
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as husband and wife in a normal mar
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As indicated earlier it is common f
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extra-marital affair on the side of
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different responses in different wo
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in Sesotho we say Molomo ha o na kh
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Mong’a monna ha a loana, Le mo jo
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c) Dishonesty Dishonesty is describ
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A similar concern is raised by Moek
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What has happened at Ha Marou, The
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With regard to accordion music, Pha
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challenge others to sing love songs
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Frame-Work and the National HIV/AID
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Avoid this disease you the youth, I
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`Mateboho, as one of the accordion
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points out that what ties Basotho t
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efficient plant for cleansing purpo
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“Ngoana ea sa lleng o shoela thar
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The document further states that, s
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Another song that provides a genera
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The above quotation, although too g
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) Exploitation by recording compani
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The mention of the name in these li
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are the low wages of about R500.00
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Therefore, if R500.00 - R244.00 is
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With regard to narratives, there we
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government remained in power from 1
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Manka le Phallang (1991), in his so
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Ke ale a theosa, A leba mose maoatl
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who was known as `Manthabiseng was
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The BAC was a political product of
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Moeti (1995) is one of the artists
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that, what LCD had done was morally
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Thabeng bana ba batho ba shoele ka
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these songs and others described th
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245
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accordion where he may practice on
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develop trust among themselves as o
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Another area worth researching on i
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did not really address the concerns
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Accordion artists like praise poets
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BIBLIOGRAPHY BOOKS Achebe, C.1958.T
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Lesotho. 2003. Sexual Offences Act.
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Pule, N.W. 2002. Politics since ind
Page 275 and 276:
Phafoli, L. 1994. Text in Emergent
Page 277 and 278:
Anon. 1986. Basotho National Party
Page 279 and 280:
Bo-mme ba Maphutseng. 2002. Ke Siil
Page 281 and 282:
Nong la Berea, 2000. Setsokotsane s
Page 283 and 284:
Mokete, R. (Chakela) Verbal communi
Page 285 and 286:
Mokete, R. (Chakela) 2006. Speech d
Page 287 and 288:
Their long-term and short-term deve
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