A platform for women’s experiences? a case of the hip hop scene in Grahamstown, Eastern Cape
- Authors: Kabwato, Sasha Nyasha
- Date: 2019
- Subjects: Hip-hop -- South Africa -- Makhanda , Popular culture -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda , Musicians, Black -- South Africa -- Makhanda , Women musicians, Black -- South Africa -- Makhanda , Women, Black -- South Africa -- Makhanda -- Psychology
- Language: English
- Type: text , Thesis , Masters , MSocSc
- Identifier: http://hdl.handle.net/10962/96503 , vital:31287
- Description: The main aim of this research is to examine the hip hop scene in Grahamstown, Eastern Cape and whether hip hop can serve as a significant platform to discuss women’s lived experiences. This study also places focus on how female rappers construct their rap personas, as well as how they are perceived by their male counterparts. In order to understand the multifaceted viewpoints, it was necessary to interview both male and female hip hop artists. Eight interviews were conducted with eight young black rappers who are actively involved in the Grahamstown hip hop scene. It was found that hip hop, like any other art form, is a significant platform for women to express themselves, however gender constraints limit who is willing to listen to and promote their music. Male rappers advocate for women to talk about their stories, yet are more unlikely to listen because it does not relate to their struggles. In addition, there seem to be four specific tropes that female rappers choose to construct their identities from. Female rappers tend to create their personas around: Queen Mother, Fly Sista, Bitch with Attitude, and Lesbian. However, these categories are fluid and it was found that women navigate these categories depending on their audience and message they want to convey at a particular moment. Lastly, there is a split between Grahamstown West (Rhodes University) and Grahamstown East (township). University students are unlikely to perform in the township, and township residents rarely perform at organised events in Grahamstown West. In addition, Rhodes University students are more likely to feature on the university run radio station, rather than Radio Grahamstown, the local community radio.
- Full Text:
- Date Issued: 2019
- Authors: Kabwato, Sasha Nyasha
- Date: 2019
- Subjects: Hip-hop -- South Africa -- Makhanda , Popular culture -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda , Musicians, Black -- South Africa -- Makhanda , Women musicians, Black -- South Africa -- Makhanda , Women, Black -- South Africa -- Makhanda -- Psychology
- Language: English
- Type: text , Thesis , Masters , MSocSc
- Identifier: http://hdl.handle.net/10962/96503 , vital:31287
- Description: The main aim of this research is to examine the hip hop scene in Grahamstown, Eastern Cape and whether hip hop can serve as a significant platform to discuss women’s lived experiences. This study also places focus on how female rappers construct their rap personas, as well as how they are perceived by their male counterparts. In order to understand the multifaceted viewpoints, it was necessary to interview both male and female hip hop artists. Eight interviews were conducted with eight young black rappers who are actively involved in the Grahamstown hip hop scene. It was found that hip hop, like any other art form, is a significant platform for women to express themselves, however gender constraints limit who is willing to listen to and promote their music. Male rappers advocate for women to talk about their stories, yet are more unlikely to listen because it does not relate to their struggles. In addition, there seem to be four specific tropes that female rappers choose to construct their identities from. Female rappers tend to create their personas around: Queen Mother, Fly Sista, Bitch with Attitude, and Lesbian. However, these categories are fluid and it was found that women navigate these categories depending on their audience and message they want to convey at a particular moment. Lastly, there is a split between Grahamstown West (Rhodes University) and Grahamstown East (township). University students are unlikely to perform in the township, and township residents rarely perform at organised events in Grahamstown West. In addition, Rhodes University students are more likely to feature on the university run radio station, rather than Radio Grahamstown, the local community radio.
- Full Text:
- Date Issued: 2019
Repatriating Xhosa music recordings archived at the International Library of African Music (ILAM) and reviving interest in traditional Xhosa music among the youth in Grahamstown
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
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