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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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Judge Albie Sachs and Candice Mama discuss traumas of the past and forgiveness in the present
2015-08-05

 

Judge Albie Sachs embraces Candice Mama for her courage in confronting Eugene de Kock, who killed her father.

Two generations. Two stories of triumph. Two South Africans who have displayed immense courage.

Public Dialogue on Trauma, Memory, and Representations of the Past

Judge Albie Sachs and Candice Mama exchanged their experiences of past trauma and subsequent transformation in a public conversation. The event was co-hosted by Prof Pumla Gobodo-Madikizela and The Institute for Justice and Reconciliation (IJR) in Cape Town on Thursday 30 July 2015.

The event was the first instalment in a series entitled Public Dialogue on Trauma, Memory, and Representations of the Past. The theme of the discussion was ‘Intergenerational Dialogue on Trauma and Healing’.

"The aim of these public dialogue events we are co-hosting with IJR is to place the issues of trauma and memory, and the strategies that individuals and communities use to heal, in the public sphere," Prof Gobodo-Madikizela, Senior Research Professor in Trauma, Forgiveness, and Reconciliation Studies at the University of the Free State (UFS) said.

Judge Albie Sachs and Candice Mama in conversation

Former Constitutional Court Judge, Albie Sachs, talked about his participation in South Africa’s liberation struggle, the loss of his right arm in an assassination attempt, and meeting the man responsible – Henri van der Westhuizen. Despite years of exile and extended periods of solitary confinement, Judge Sachs maintains that “we need to acknowledge our history, not be trapped by it.” Judge Sachs also remarked, though, that “we’re seeing too much lamentation, not enough activation.” In a heartrending gesture, Judge Sachs embraced Candice Mama in a hug for her courage in confronting Eugene de Kock, who killed her father.

How poignant then, when Mama said, “I wanted to embrace the brokenness within him,” when she spoke about her meeting with De Kock. By the time I met with Eugene, I could meet him as a human being, not as a villain.” Mama believes that forgiving someone translates into an investment in the person you are forgiving and in your own sanity. She also emphasised the importance of dialogue to move our country forward: “When we share our stories with each other authentically, walls break down.”

This is a stance that Prof Gobodo-Madikizela supports strongly: “When we listen to one another, something unexpected emerges; we encounter the human in each other,” she said. “When we listen with open hearts to each other, we see and experience each other’s humanity.”

Building a bridge between research and society

Referring to the research aspect of the event, Prof Gobodo-Madikizela said that, "in establishing the series of public dialogue events, our vision is to create a bridge between scholarly research and the community at large, on the one hand, and a visual conscience of society, on the other." The UFS is collaborating with the IJR on this research project, which is funded by the Andrew W. Mellon Foundation. The endeavour is led by Prof Gobodo-Madikizela, who also serves as Board Member of the IJR.

 

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