Analysis of the language techniques and thematic - University of the ...

More documents

Recommendations

Info

CHAPTER 3 HISTORIOGRAPHY OF BASOTHO ACCORDION MUSIC 3.0 INTRODUCTION This chapter briefly discusses the concept of Mosotho and Sesotho, overview of the Basotho music in general and, last, the origins and evolution of Basotho accordion music. In order to understand the concept Basotho accordion music, the researcher finds necessary to contextualise it by brief discussion of the concept Mostho and Sesotho. 3.1 THE CONCEPT OF MOSOTHO AND SESOTHO Lesotho is a Southern African country enclosed by the Republic of South Africa. Its population is currently estimated at 1.9 million (Population census: 2006) According to Ellenberger (1912) and Gill (1993), Lesotho was established around the years 1820s- 1830s by the founder of the Basotho nation, Moshoeshoe I. For one to have a better understanding of Basotho and Sesotho, the following questions have to be asked and answered: • What is a Mosotho? • Who is a Mosotho? • From where does the word Basotho originate? • What is Sesotho as a language? • What is Sesotho as a custom? • When do practices become a custom? • When does a Sesotho custom become a tradition? These are some of the few questions for which, although often asked, it is difficult to provide convincing answers. The responses given below will only provide a general understanding of the possible answers. The response to who is a Mosotho, can best be given as anybody who is an African, who speaks Sesotho, belongs to a certain African 34
ethnic group and who observes and practices the cultural aspects of Basotho. This is a general understanding of a Mosotho from the Basotho’s view point. But, with the political developments, especially after independence, Mosotho can be understood to refer to what makes one a citizen of Lesotho, irrespective of one’s origins. There are a variety of versions which have tried to explain the origins of the word Basotho, but we will refer to the one which seems to be acceptable to most writers of history. Ellenberger (1912:34) when relating the history of the first Basotho refers to the Bapeli in the 18 th century who lived next to the Amaswazi. He writes: These used to laugh at the breech-cloth of the Bapeli, and the trouble they took to make one of the three ends pass between the legs and join the other two in a knot behind, thinking their own fashion a mocha or sporran, made of jackals’ tails or the dressed skins of rock-rabbit, more dignified. So they called the Bapeli, Abashuntu, a derivative of the verb uku shunta, to make a knot. This designation, bestowed in derision, was adopted with pride by the Bapeli, and later by the other tribes similarly clothed, and was the origin of the present term Basuto. According to Ellenberger the first tribes to bear the name Basotho were the Bapeli, Makholokoe, Maphuthing, Batlokoa and Basia. Gill (1993: 27) goes further to indicate that, although various groups that are called the ‘Southern Sotho’ today had much in common linguistically and culturally, they were not united politically and also not homogeneous. Their traditions were frequently innovative, localized and contested. With regard to the general feeling that the word Basotho came into being between 1820s-1830s and that prior to this period each ethnic group was called by its clan name, he relates that: “Basotho” was later adopted by Moshoeshoe as a unifying political term for his emerging kingdom, which contained peoples from a large number of clans, both Sotho and Nguni. It is important that we look upon the pre-19 th century “Sotho” with an eye for diversity and be prepared to break out of the stifling uniformity which has sometimes been wrongly imposed upon the “Sotho” peoples. 35
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 and 16: 125,786 in 1990 to 57,989 in 2004 (
Page 17 and 18: The aim of the study is to analyse
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: 2.3 CONCLUSION Functionalism, in it
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
Page 67 and 68: Congress Party (B.C.P.) won the ele
Page 69 and 70: that were held at ‘Manthabiseng C
Page 71 and 72: It is worthwhile to give a general
Page 73 and 74: also dancers. The lead-singer somet
Page 75 and 76: Although there are important reason
Page 77 and 78: 3.3.5 MUSICAL INSTRUMENTS In the ea
Page 79 and 80: 3.3.7 ACCORDION MUSIC AND ITS RECEP
Page 81 and 82: etained and maintained as they list
Page 83 and 84: (iv) Thematic aspects Some people s
Page 85 and 86: manner, relate and describe whateve
Page 87 and 88: attractive, and, in some cases, div
Page 89 and 90: is a Mofokeng (of the hare), he is
Page 91 and 92: 3.4 CONCLUSION Based on the given i
Page 93 and 94: speech in this music helps to retai
Page 95 and 96: considerably, and depends mainly on
Page 97 and 98:
Father of Lerotholi, the locusts’
Page 99 and 100:
The one who has lacks swift running
Page 101 and 102:
other individuals; all in all, it r
Page 103 and 104:
One could say that the use of prove
Page 105 and 106:
Ngoana o tšoana le `m’ae, o tsam
Page 107 and 108:
“Lebelo lea fela thota e sale”
Page 109 and 110:
a) Proverbs used as titles of songs
Page 111 and 112:
of this word, one finds it to be ca
Page 113 and 114:
homestead. In this way, the artist
Page 115 and 116:
The usage of these features also di
Page 117 and 118:
Apostrophe is further carried on in
Page 119 and 120:
There is a common feeling among the
Page 121 and 122:
Among the Basotho, head-dressing is
Page 123 and 124:
had from the boys. She prefers to u
Page 125 and 126:
esult, she boldly tells him how to
Page 127 and 128:
Someone who was feared by all the p
Page 129 and 130:
One also observes the adopted descr
Page 131 and 132:
In line four, there is another exag
Page 133 and 134:
feelings and our understanding. The
Page 135 and 136:
in order to get in, especially when
Page 137 and 138:
focus on the development of the are
Page 139 and 140:
it goes deep down in our inner feel
Page 141 and 142:
chief is expected to cater for the
Page 143 and 144:
uses the word “kolla” meaning,
Page 145 and 146:
him that it was a viper pretending
Page 147 and 148:
that prompts Basotho to love accord
Page 149 and 150:
herd-boy, the artist brings such ex
Page 151 and 152:
When Famole likens himself to hail,
Page 153 and 154:
Kunene (1971:68) writes about aesth
Page 155 and 156:
Motho o bolaoa ke mokhotsi ke oa ha
Page 157 and 158:
with Maama and Seeiso who are his u
Page 159 and 160:
Ba bang ba re ke ile Molumong thabe
Page 161 and 162:
the tip of people’s tongues; they
Page 163 and 164:
Chakela litsietsi li tsoaloa le mot
Page 165 and 166:
Bongata bo a hana bo a latola, Ba r
Page 167 and 168:
contaminated water in order to prov
Page 169 and 170:
There is another interesting part h
Page 171 and 172:
CHAPTER 5 THEMATIC ASPECTS OF BASOT
Page 173 and 174:
e said that with accordion artists,
Page 175 and 176:
serve. This is what Radcliffe-Brown
Page 177 and 178:
The tall and hefty one, The wife of
Page 179 and 180:
etween individuals. This form of id
Page 181 and 182:
This question is meant to make such
Page 183 and 184:
I live at Mohale’s Hoek that is w
Page 185 and 186:
You ask me who is my chief, I am th
Page 187 and 188:
‘Na ke hotse le bashanyana, Ke ho
Page 189 and 190:
as husband and wife in a normal mar
Page 191 and 192:
As indicated earlier it is common f
Page 193 and 194:
extra-marital affair on the side of
Page 195 and 196:
different responses in different wo
Page 197 and 198:
in Sesotho we say Molomo ha o na kh
Page 199 and 200:
Mong’a monna ha a loana, Le mo jo
Page 201 and 202:
c) Dishonesty Dishonesty is describ
Page 203 and 204:
A similar concern is raised by Moek
Page 205 and 206:
What has happened at Ha Marou, The
Page 207 and 208:
With regard to accordion music, Pha
Page 209 and 210:
challenge others to sing love songs
Page 211 and 212:
Frame-Work and the National HIV/AID
Page 213 and 214:
Avoid this disease you the youth, I
Page 215 and 216:
`Mateboho, as one of the accordion
Page 217 and 218:
points out that what ties Basotho t
Page 219 and 220:
efficient plant for cleansing purpo
Page 221 and 222:
“Ngoana ea sa lleng o shoela thar
Page 223 and 224:
The document further states that, s
Page 225 and 226:
Another song that provides a genera
Page 227 and 228:
The above quotation, although too g
Page 229 and 230:
) Exploitation by recording compani
Page 231 and 232:
The mention of the name in these li
Page 233 and 234:
are the low wages of about R500.00
Page 235 and 236:
Therefore, if R500.00 - R244.00 is
Page 237 and 238:
With regard to narratives, there we
Page 239 and 240:
government remained in power from 1
Page 241 and 242:
Manka le Phallang (1991), in his so
Page 243 and 244:
Ke ale a theosa, A leba mose maoatl
Page 245 and 246:
who was known as `Manthabiseng was
Page 247 and 248:
The BAC was a political product of
Page 249 and 250:
Moeti (1995) is one of the artists
Page 251 and 252:
that, what LCD had done was morally
Page 253 and 254:
Thabeng bana ba batho ba shoele ka
Page 255 and 256:
these songs and others described th
Page 257 and 258:
245
Page 259 and 260:
accordion where he may practice on
Page 261 and 262:
develop trust among themselves as o
Page 263 and 264:
Another area worth researching on i
Page 265 and 266:
did not really address the concerns
Page 267 and 268:
Accordion artists like praise poets
Page 269 and 270:
BIBLIOGRAPHY BOOKS Achebe, C.1958.T
Page 271 and 272:
Lesotho. 2003. Sexual Offences Act.
Page 273 and 274:
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
show all

Analysis of the language techniques and thematic - University of the ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?