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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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Ghanaian academic speaks about next generation of African scholars
2013-10-08

 

Attending the seminar were from left: Adv Erika Cilliers, Sisa Mlonyeni (both from the Office of the Public Protector), Prof Adomako Ampofo and Prof Heidi Hudson, Head of the Centre for Africa Studies.
Photo: Jerry Mokoroane
08 October 2013

Prof Akosua Adomako Ampofo, one of the Centre for Africa Studies’newly-appointed advisory board members, addressed students and staff on 3 October 2013. Her topic Are you the scholar Africa needs?enthralled the audience with the passionate way in which she argued for nurturing activist-scholars rather than scholars who simply produce knowledge for the sake of it. “It is more urgent than ever before that … we do not simply see our roles as researchers and teachers, but that we are committed to impacting our communities” for the better – also by “making our knowledge production globally visible,” she argued. Africa is said to contribute less than 0.5 percent of the world’s scientific publications. The fact that most of these – and nearly all of the social science production – emanate from just three nations (Egypt, Nigeria and South Africa) means that many countries are absent from the radar.

According to her, the next generation of African scholars will have to compete within a hostile terrain where private universities are proliferating and costs of higher education are on the rise. These scholars will have to possess 22nd century skills, but a 20th century heart and sensitivity for the continent and its people.

Drawing on Kwame Nkrumah, Prof Ampofo proposed three guiding principles for becoming the scholars Africa needs. Firstly, by having a passion for knowledge as well as an Africa-centred knowledge – “nobody can tell our stories better than we can.”. Secondly, to translate our research into outputs not only in the form of internationally-recognised publications, but also in popular sources that will be read by a much wider public. And lastly, to carrying the torch for teaching and learning in the classroom – preparing our students to serve Africa or, as Nkrumah said, producing “devoted men and women with imagination and ideas, who, by their life and actions, can inspire our people to look forward to a great future.”.

Akosua Adomako Ampofo is a Professor of African and Gender Studies, and Director of the Institute of African Studies at the University of Ghana, Legon. An activist-scholar, her current work addresses African knowledge systems; race, ethnicity and identity politics; gender-based expressions of violence; constructions of masculinities; women and work; and popular culture. She is currently co-editing a volume titled, Transatlantic Feminisms: Women and Gender in Africa and the African Diaspora.In 2010, she was awarded the Sociologists for Women in Society Feminist Activism Award.


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