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23 September 2022 | Story Anthony Mthembu | Photo iFlair Photography
Umakhoyane
Umakhoyane: Indigenous South African instrument affiliated with the Zulu tribe.

According to Dr Absolum Nkosi, Senior Lecturer in the Odeion School of Music at the University of the Free State (UFS), “ancient traditional instruments form part of the African heritage”. As such, with Heritage Day upon us, it is imperative to highlight these South African indigenous musical instruments. 

Some of the most prominent South African musical instruments currently in the possession of the UFS, include uhadi and umakhoyane, also referred to as ugubhu. At first glance, one would think that these instruments are the same. This would not be an incorrect assumption. In fact, these instruments share similarities in terms of purpose and how they have been used throughout their existence. 

Similarities and differences between the instruments
For instance, both uhadi and umakhoyane (ugubhu) are instruments traditionally played by women. Dr Nkosi maintains that songs accompanied by any of these instruments are usually personal, as they cover topics such as love, family, and relationships. Furthermore, the songs that were sung with the assistance of these instruments, were also about a reflection of the individual’s mental state. As such, the fact that both instruments have a very soft sound aided in that reflective process. 

However, there are key variations between these instruments. Uhadi is a single-string acoustic bow affiliated with the Xhosa tribe, whereas umakhoyane is a single-string acoustic bow affiliated with the Zulu tribe. In addition, umakhoyane possesses a bridge in the middle that uhadi does not. Furthermore, there is also a difference in the sound produced by the two instruments. “Uhadi produces one sound when it is played with the string openly without touching it; you can then get the second sound by pinching and releasing the string using the index finger and a thumb. However, umakhoyane produces two notes when playing the string on the upper and the lower level. The bridge in the middle of the string divides it into an upper part (low tone) and a lower part (high tone),” Dr Nkosi indicated.  

It is imperative to note that these instruments have adapted over time. In fact, they have been used in genres such as Jazz and contemporary Afro music. Therefore, Dr Nkosi believes that the preservation of these indigenous instruments is essential, as it keeps the African musical identity alive. 

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‘Is the South African university curriculum ‘colonial'?’ asks Prof Jansen
2017-11-24

Description: Jansen readmore Tags: Prof Jonathan Jansen, colonial, university curriculum, western knowledge

From left; Prof Corli Witthuhn, Vice-Rector: Research; former Rector and Vice-
Chancellor of the UFS, Prof Jonathan Jansen; Prof Michael Levitt, and
Prof Francis Petersen at the celebration lecture at the UFS.
Photo: Johan Roux

One of the critical issues that emerged from the South African student protests during 2015 and 2016 was a demand for the decolonisation of university curriculums. 

A senior professor at the Stellenbosch University, Prof Jonathan Jansen, said the number of people, including academics, who joined the cause without adequately interrogating the language of this protest, was astonishing. “The role of social scientists is to investigate new ideas … when something is presented to the world as truth.” Prof Jansen was speaking during a celebration lecture at the University of the Free State in Bloemfontein on 15 November 2017. 

Large amount of knowledge not African

He said the accusation is correct to a limited degree. “The objection, in essence, is against the centring of Western, and especially European knowledge, in institutional curricula.” There is no doubt that most of what constitutes curriculum knowledge in South African universities, and in universities around the world, derive from the West. “The major theories and theorists, the methodologists and methods are disproportionally situated outside of the developing world,” Prof Jansen said. 

The dilemma is, how will South Africa and the continent change the locus of knowledge production, considering the deteriorating state of public universities? “In the absence of vibrant, original, and creative knowledge production systems in Africa and South Africa, where will this African-centred or African-led curriculum theory come from,” Jansen asked. He says the re-centring of a curriculum needs scholars with significant post-doctoral experiences that are rooted in the study of education and endowed with the critical independence of thought. “South Africa's universities are not places where scholars can think. South African universities’ current primary occupation is security and police dogs,” Prof Jansen said. 

Collaboration between African and Western scholars
“Despite the challenges, not everything was stuck in the past,” Prof Jansen said. South African scholars now lead major research programmes in the country intellectually. The common thread between these projects is that the content is African in the subjects of study, and the work reflects collaboration with academics in the rest of the world. These research projects attract postgraduate students from the West, and the research increasingly affects curriculum transformations across university departments. There is also an ongoing shift in the locus of authority for knowledge production within leading universities in South Africa. Prof Jansen feels a significant problem that is being ignored in the curriculum debate, is the concern about the knowledge of the future. How does South Africa prepare its young for the opportunities provided by the groundswell of technological innovation? “In other parts of the world, school children are learning coding, artificial intelligence, and automation on a large scale. They are introduced to neuroscience and applied mathematics,” he said.

Prof Jansen said, in contrast, in South Africa the debate focuses on the merits of mathematics literacy, and what to do with dead people’s statues.

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