Analysis of the language techniques and thematic - University of the ...
Analysis of the language techniques and thematic - University of the ...
Analysis of the language techniques and thematic - University of the ...
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socialisation <strong>the</strong> individual internalises <strong>the</strong>m in order to be an acceptable member <strong>of</strong> <strong>the</strong><br />
society. His behaviour <strong>and</strong> actions are regulated by <strong>the</strong> value system within which he<br />
operates. No individual is exempted from <strong>the</strong> social expectations even on <strong>the</strong> basis <strong>of</strong><br />
his/her social st<strong>and</strong>ing. As people pursue <strong>the</strong>ir different interests in <strong>the</strong>ir lives, <strong>the</strong>y do so<br />
on <strong>the</strong> basis <strong>of</strong> <strong>the</strong> long st<strong>and</strong>ing tradition <strong>of</strong> <strong>the</strong>ir norms <strong>and</strong> values. Fur<strong>the</strong>rmore, for any<br />
social structures to function <strong>and</strong> operate properly <strong>and</strong> smoothly within <strong>the</strong> society as a<br />
whole, such structure needs both input from <strong>and</strong> acknowledgement by <strong>the</strong> relevant<br />
society.<br />
Basotho accordion artists as individuals are basic units that form social structures <strong>and</strong><br />
perform certain functions within Basotho society. They are born into <strong>and</strong> nurtured within<br />
<strong>the</strong> society <strong>of</strong> Basotho; consequently, <strong>the</strong>y imbibe <strong>and</strong> internalize norms <strong>and</strong> values <strong>of</strong><br />
Basotho. Naturally <strong>the</strong>ir music is bound to be influenced <strong>and</strong> reflect <strong>the</strong> environment<br />
which produces <strong>the</strong>m. Thus, <strong>the</strong>ir artistic creativity is somehow dependent upon <strong>the</strong>ir<br />
social environment. Similarly, <strong>the</strong>ir survival as artists <strong>and</strong> <strong>the</strong> sustainability <strong>of</strong> <strong>the</strong>ir<br />
careers depends on <strong>the</strong> reception <strong>and</strong> marketability <strong>of</strong> <strong>the</strong>ir product. On <strong>the</strong> o<strong>the</strong>r h<strong>and</strong>,<br />
<strong>the</strong>ir audience expects to be fed with <strong>the</strong> music which satisfies <strong>the</strong>ir needs. Thus <strong>the</strong><br />
relationship <strong>of</strong> parasite-host <strong>and</strong> host parasite is in perpetual reversal. The relationship is<br />
symbiotic. Evidently, <strong>the</strong>re is interdependence between <strong>the</strong> artists <strong>and</strong> <strong>the</strong>ir society for <strong>the</strong><br />
benefit <strong>of</strong> harmony within <strong>the</strong> society. This form <strong>of</strong> interdependence leads to <strong>the</strong><br />
continuity <strong>of</strong> both <strong>the</strong>ir music <strong>and</strong> <strong>the</strong> social structure <strong>of</strong> <strong>the</strong>ir society. Radcliffe-Brown<br />
(1952:10) opines as follows:<br />
Continuity in forms <strong>of</strong> social life depends on structural<br />
continuity, that is, some sort <strong>of</strong> continuity in <strong>the</strong><br />
arrangements <strong>of</strong> persons in relation to one ano<strong>the</strong>r…<br />
The social life <strong>of</strong> <strong>the</strong> artists depends on <strong>the</strong> continued structure <strong>of</strong> <strong>the</strong>ir society whilst <strong>the</strong><br />
continued structure <strong>of</strong> <strong>the</strong> society also depends on <strong>the</strong> role played by <strong>the</strong> artists through<br />
<strong>the</strong>ir music.<br />
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