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A close-up on some of South Africa’s indigenous instruments

23 September 2022 | Story Anthony Mthembu | Photo iFlair Photography

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.

Uhadi: Indigenous South African instrument affiliated with the Xhosa tribe

Umakhoyane: Indigenous South African instrument affiliated with the Zulu tribe

News Archive

Prestigious Helgaard Steyn Prize to be awarded to UFS composer

2010-11-08

Hans Huyssen.

The composer Hans Huyssen, affiliated with the Department of Music at the University of the Free State (UFS), is to be the current recipient of the prestigious 2010 Helgaard Steyn Prize, the prize-winning work being Huyssen’s Proteus Variations (2006).Annually this award is administered and presented to a selected composer, painter, author, or sculptor by the Universities of the Free State and the North-West on a rotating basis. The judges for this year’s prize were Prof. Bertha Spies, Research Fellow, North-West University, and Professor Extraordinary, University of Pretoria, and Mr Noel Stockton, Senior Lecturer at the University of the Free State.

Hans Huyssen’s musical activities encompass the diverse poles of early and contemporary Western and African music, often in an attempt to assimilate the essential qualities from all these fields. His intense focus on contextuality suggests that he approaches music as a profoundly social force which has a particular role to play in our ‘new’ diversified South African society.

The Proteus Variations were commissioned by the Deutsche Welle Radio for the South African National Youth Orchestra 2006, and were premiered at the Beethoven Bonn Festival during 2006. These variations are described by the composer as “a musical representation of South Africa’s manifold Proteaceae”, named for the Greek god Proteus who, at will, was capable of assuming a spectrum of shapes and appearances. As the composer states: “It is worth noticing that a Protea is South Africa’s national flower. What could be more appropriate in providing a key to an opposite perception and understanding of the country’s diverse cultural expressions? In this regard it is my hope that the Proteus Variations may contribute a little to the wide scope of cultural responses necessary to begin to do justice to the extremely rich tapestry of our immediate cultural and natural surroundings”.

The prize of R170 000 will be awarded to Hans Huyssen by a representative of ABSA Trust, who is one of the trustees of the Helgaard Steyn Trust, in Bloemfontein on 8 November 2010.

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