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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. 

News Archive

From peasant to president; from Samora Machel to Cahora Bassa
2015-03-25

Prof Barbara Isaacman and Prof Allen Isaacman
Photo: Renè-Jean van der Berg

When the plane crashed in Mbuzini, the entire country was submerged in a profound grieving.

This is how Prof Allen Isaacman, Regents Professor of History at the University of Minnesota, described the effect President Samora Machel’s death in 1986 had on Mozambique. In a public lecture, Prof Isaacman spoke about the man, Samora Machel, and the influences that shaped Machel’s life. The event, recently hosted by the UFS International Studies Group on the Bloemfontein Campus, was part of the Stanley Trapido Seminar Programme.

Samora Machel: from peasant to president
Born in 1933 into a peasant family, Machel was allowed to advance only to the third grade in school. “And yet,” Prof Isaacman said, “he became a very prominent local peasant intellectual and ultimately one of the most significant critics of Portuguese colonialism and colonial capitalism.” Machel had a great sense of human agency and firmly believed that one is not a mere victim of circumstances. “You were born into a world, but you can change it,” Prof Isaacman explained Machel’s conviction.

From herding cattle in Chokwe, to working as male nurse, Machel went on to become the leader of the Liberation Front of Mozambique (Frelimo) and ultimately the president of his country. To this day, not only does he “capture the imagination of the Mozambican people and South Africans, but is considered one the great leaders of that moment in African history,” Prof Isaacman concluded his lecture.

Displacement, and the Delusion of Development: Cahora Bassa and Its Legacies in Mozambique, 1965–2007
Later in the day, Profs Allen and Barbara Isaacman discussed their book: ‘Displacement, and the Delusion of Development: Cahora Bassa and Its Legacies in Mozambique, 1965–2007’ at the Archives for Contemporary Affairs. As authors of the book, they investigate the history and legacies of one of Africa's largest dams, Cahora Bassa, which was built in Mozambique by the Portuguese in the late 1960s and early 1970s.

The dam was constructed under conditions of war and inaugurated after independence by a government led by Frelimo. The dam has since operated continuously, although, for many years, much of its electricity was not exported or used because armed rebels had destroyed many high voltage power line pillars. Since the end of the armed conflict in 1992, power lines have been rebuilt, and Cahora Bassa has provided electricity again, primarily to South Africa, though increasingly to the national Mozambican grid as well.

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