CONTENTS

Acknowledgments ix
Preface xi
Orthographic Note xxi

Chapter 1
“Hyenas Do Not Sleep Together”
The Interpretation of Basotho Migrants’ Auriture 1

Chapter 2
“The Mouth of a Commoner Is Not Listened To”
Power, Performance, and History 30

Chapter 3
“Greetings, Child of God!”
Generations of Travelers and Their Songs 65

Chapter 4
“An Initiation Secret Is Not Told at Home”
The Making of a Country Traveler 90

Chapter 5
“These Mine Compounds, I Have Long Worked Them”
Auriture and Migrants’ Labors 118

Chapter 6
“I’d Rather Die in the Whiteman’s Land”
The Traveling Women of Eloquence 150

Chapter 7
“My Heart Fights with My Understanding”
Bar Women’s Auriture and Basotho Popular Culture 178

Chapter 8
“Eloquence Is Not Stuck on Like a Feather”
Sesotho Aural Composition and Aesthetics 201

Chapter 9
“Laughter Is Greater than Death”
Migrants’ Songs and the Meaning of Sesotho 242

Appendix 1 263
Appendix 2 270

References 281
Index 293

CONTENTS

Abstract ii
Opsomming ii
Declaration iii
Acknowledgements iv
Abbreviations v
Key words vi
Table of contents vii

Chapter 1
Intrdoduction
1.0 introduction 1
1.1 Background 1
1.2 Statement of the problem 4
1.3 Purpose of the study 4
1.4 Value of the research 5
1.5 Definition of terms 6
1.6 Scope of the study 8
1.7 Literature review 9
  1.7.1 History of Southern African township music and 
           Basotho accordion music 10
  1.7.2 Basotho migrant labourer’s lifela/travellers’ songs 16
  1.7.3 Basotho music 18
1.7.4 African music in general 18
1.8 Methodology 19
  1.8.1 Research design 19
  1.8.2 Population 19
  1.8.3 Sample 19
  1.8.4 Sample procedure and sampling technique 19
  1.8.5 Data collection 21
  1.8.6 Collection of cassettes 21
  1.8.7 Interviews 22
  1.8.8 Observation 23
1.9 Conclusion 24

Chapter 2
Theoretical framework
2.0 Introduction 25
2.1 Elements of functionalism 26
  2.1.1 Function 26
  2.1.2 Social system 27
  2.1.3 Social Structure 27
2.2 Overview 28
  2.2.1 Function 28
  2.2.2 Interdependence 29
  2.2.3 Consensus 31
  2.2.4 Equilibrium31
  2.2.5 Evolutionary change 32
2.3 Conclusion 33

Chapter 3
Historiography of Basotho accordion music
3.0 Introduction 34
3.1 The concept of Mosotho and Sesotho 34
  3.1.1 Examples of dynamic changes within the Basotho culture 37
3.2 Overview of Basotho music in general 41
  3.2.1 Traditional music 42
  3.2.2 Acculturation in Lesotho 1980-2005 44
  3.2.3 Transformation within church services 45
  3.2.4 Gospel music 47
  3.2.5 Jazz music 48
  3.2.6 Choral music 49
3.3 Origins of the Basotho accordion music 49
  3.3.1 Evolution of accordion music 1980-2005 53
    a) The beginning 1980-1985 53
    b) Military era 1986-1993 54
    c) Mokhehle era 1993-1998 54
    d) Mosisili era 1998-2005 55
  3.3.2 The status of the music 56
    a) Artists and their training 58
    b) Performance 60
    c) Naming of the albums 62
  3.3.3 Language usage 64
  3.3.4 Predominant themes of the accordion music 64
  3.3.5 Musical Instruments 65
  3.3.6 Recording 65
  3.3.7 Accordion music and its reception 67
  3.3.8 General views 68
    a) Appreciation of the lyrics in the music 68
      (i) Use of Sesotho as a mother tongue 68
      (ii) Employment of language techniques 69
      (iii) Manipulation of emotions 70
      (iv) Thematic aspects 71
    b) Appreciation of Personal identity 71
      (i) Eloquence 72
      (ii) Voice 73
      (iii) Dramatic performance 74
      (iv) Musical instruments 75
      (v) Social identification 76
3.4 Conclusion 79

Chapter 4
Analysis of the language in accordion music
4.0 Introduction 80
4.1 Poetic nature of accordion music language 82
4.2 Proverbs 89
  4.2.1 Application of proverbs 92
  4.2.2 Use of proverbs 96
    a) Proverbs used as titles of songs 97
    b) Proverbs with no fixed or rigid pattern 100
4.3 Figures of speech 102
  4.3.1 Apostrophe 103
  4.3.2 Euphemism 108
  4.3.3 Hyperbole 113
  4.3.4 Imagery 120
  4.3.5 Metaphor 127
    a) Animal metaphors 128
      (i) Animal metaphors with positive attitude 129
      (ii) Animal metaphors with negative attitude 131
    b) Plant metaphors 134
    c) Bird metaphors 135
    d) Natural phenomena 137
  4.3.6 Repetition 140
    a) Repetition of chorus 142
    b) Repetition of letters or syllables 144
    c) Repetition of clauses and phrases 146
    d) Repetition of words 148
    e) Repetition of one idea in different words 150
  4.3.7 Simile 152
4.4 Conclusion 157

Chapter 5
Thematic aspects of Basotho accordion music
5.0 Introduction 159
5.1 The social context of accordion music artist 159
5.2 Analysis of thematic apsects 161
5. 3 Social aspects 161
  5.3.0 Introduction 161
  5.3.1 Concept of self 162
    a) Birth 163
    b) Identification by clan 166
    c) Names places of origin 168
    d) Names of chiefs 171
    e) Nurture of the artist 174
    f) Marriage life 176
    g) Working experience in the Republic of South Africa 179
  5.3.2 Social trends common to accordion artists 182
    a) Advice 183
    b) Extramarital affair 186
    c) Dishonesty 189
    d) Death 191
    e) Portrayal of women 193
    f) HIV/AIDS 198
    g) Tribute to accordion artists 201
  5.3.3 Tradition and Change 203
5.4 Economic aspects 207
  5.4.0 Introduction 207
  5.4.1 Background 207
  5.4.2 Poverty in Lesotho 210
    a) State of poverty 211
    b) Poverty alleviation 212
    c) Unemployment 214
  5.4.3 Exploitation by coordinators and recording companies 214
    a) Exploitation by coordinators 215
    b) Exploitation by recording companies 217
  5.4.4 Protest against chinese firms 220
5.5 Political history 224
  5.5.0 Introduction 224
  5.5.1. Background 224
  5.5.2 Political Events of 1986 227
  5.5.3 Political Events of 1987 230
  5.5.4 Political Events of 1991 231
  5.5.5 Political Events of 1993 234
  5.5.6 Political Events of 1994 235
  5.5.7 Political Events of 1997 237
  5.5.8 Political Events of 1998 239
  5.5.9 Political Events of 2000 242
5.6 Conclusion 244

Chapter 6
Conclusion
6.1 Findings and other possible areas of research 246
  6.1.1 Findings 246
  6.1.2 Possible areas of further research 250
6.2 Problems encountered 252
6.3 Conclusion 253
6.4 Recommendations 255
  6.4.1 Recommendations for artists 255
  6.4.2 Recommendations for artists 255

Bibliography
Books 257
Journals 262
Dissertations and thesis 262
Unpublished papers 263
Internet 263
Newspapers, radio & television 264
Artists’ songs and albums 266
Reports 269
Interviews 270
Artists (Interviews) 270
Coordinators (Interviews) 271
Radio and television presenters (Interviews) 271
Some members of the public (Interviews) 272
Speeches 272

Appendix
Interview questions per group 274
Artists 274
Radio presenters 275
Hawkers 275
Audience 276

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CONTENTS

Foreword to the first edition by B. W. Andrzejewski ix
Foreword to the 1996 edition by Abdilahi Qarshi xi
Preface to the first edition xv
Preface to the 1996 edition xxiii

1. Introduction
The social context 1
The Nature of Traditional Pastoralist Poetry 12
The Historical Development of Modern Oral Poetry 17

2. The Family of Miniature Genres
The Nature of the Family of Miniature Genres 27
The Poetry of the Miniature Family 32

3. The emergence of the Belwo
The Historical Background 49
The Belwo is Born 53
The Poetry of the Belwo 59

4. The Heello: Period One
The Metamorphosis: Belwo to Heello A 75
The Modem Poem: Heello A to Heello B 82

5. The Heello: Period Two
The Historical Background 95
The Poetry of the Second Period 103

6. The Heello: Period Three
The Historical Background 117
The Poetry of the Third Period 146

7. Characteristics of the Heello: All Periods
Themes Common to All Periods 175
Structural Characteristics and
Development Common to All Periods 190
The Impact of Media on Modern Poetry 208

8. Conclusion
The Inheritance of the Heello 215
Forces Behind the Success and Development of Modern Poetry 216

CONTENTS

Foreword by Banning Eyre ix
Introduction 1

Part 1 Early Days
1 The Birth of Afrobeat 27
2 Joe Mensah Remembers 41
3 Fela in Ghana 49
4 Stan Plange Remembers 29

Part 2 Confrontation
5 Kalakuta is Born 67
6 “JB” Talks about Fela 73
7 The Kalakuta Republic 81
8 The Black President 114
9 Amsterdam and After 125

Part 3 Retrospect
10 Mac Tontoh on Fela 139
11 Frank Talk about Fela 152
12 Obiba Plays It Again 165
13 Smart Binete Sorts It Out 174
14 Anku Checks Out the Beat 178
15 Nana Danso Orchestrates 183
16 Some Early Afro-Fusion Pioneers 197
17 Interview with Fela 204
18 Afterthoughts and Updates 209
19. Felabrations at Home and Abroad 238

Chronology 259
Notes 269
Selected Bibliography 281
Discography 285
Appendix A: “Shuffering and Shmiling” Score 303
Index 309

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CONTENTS

AFRICA

The North and West
Introduction: Peter Gabriel 1
Libya 3
Tunisia 5
Algeria 6
Morocco 13
Mauritania 16
Senegal 17
Mali 20
Guinea 26
Guinea-Bissau 29
Cape Verde 29
Sierra Leone 31
Côte d’Ivoire 32
Ghana 34
Togo and Benin 36
Nigeria 37

Central Africa, The South and East
Introduction: Manu Dibango 42
Cameroon 44
Zaire 49
Congo 56
Gabon 56
Angola 57
Zambia 58
Mozambique 59
Zimbabwe 60
South Africa 65
Madagascar 70
Mauritius and Reunion 71
Tanzania and Zanzibar 72
Kenya 74
Uganda 76
Burundi 76
Ethiopia 77
Sudan 79

TABLE DE MATIÈRES

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