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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

King Moshoeshoe comes alive on national television

2004-11-02

Honourable Bethuel Pakalitha Mosisili, Prime Minister of Lesotho, and his wife; King Letsie III of Lesotho and Dr Ezekiel Moraka, Vice-Rector: Student Affairs at the UFS during the première of the film at the Royal Palace in Lesotho

The ground-breaking documentary film on the life and legacy of King Moshoeshoe, the founder of the Basotho nation, will come alive on Thursday 4 November 2004 when it is screened on SABC2 at 21:00

The film, called Moshoeshoe: The Renaissance King, forms part of a larger project by the University of the Free State (UFS) to honour the Moshoeshoe legacy of nation-building and reconciliation and to explore his role as a model of African leadership. It was produced by the well-known journalist Mr Max du Preez and commissioned by the UFS as part of its centenary celebrations.

The SABC2 screening was preceded by a première in Bloemfontein last month, and was attended by provincial political leaders.

This past weekend there was a première at the Royal Palace in Lesotho, which was attended by King Letsie III, the prime minister, the chief justice, judges, the president of the senate, cabinet ministers and directors-general.

“Through this documentary film the UFS commits itself to developing a shared appreciation of the history of this country and to the establishment of the Free State Province as a model of reconciliation and nation-building. King Moshoeshoe is also a strong common element, and binding factor, in the relationship between South Africa/the Free State, and its neighbour, Lesotho,” said Prof Frederick Fourie, Rector and Vice-Chancellor of the UFS.

“Not all people in South Africa know the history of Moshoeshoe. Many Basotho – but not all – are well versed in the history of Moshoeshoe, and his name is honoured in many a street, town and township. Many white people know little of him, or have a very constrained or even biased view of his role and legacy. In Africa and the world, he is much less known than, for instance, Shaka,” said Prof Fourie.

“King Moshoeshoe did a remarkable thing in forging a new nation out of a fragmented society. He also created a remarkable spirit of reconciliation and a remarkable spirit of leadership,” said Prof Fourie.

According to Prof Fourie we already benefit from his legacy: the people of the Free State share a tradition of moderation and reconciliation rather than one of aggression and domination. “For the UFS this is also part of real transformation – of creating a new unity amidst our diversity,” said Prof Fourie.

“We also find in the legacy of King Moshoeshoe the possibility of a “founding philosophy”, or “defining philosophy”, for the African renaissance. To develop this philosophy, we must gain a deeper understanding of what really happened there, of his role, of his leadership. Therefore the UFS will encourage and support further research into the history, politics and sociology of the Moshoeshoe period, including his leadership style,” said Prof Fourie.

Media release
Issued by: Lacea Loader
Media Representative
Tel: (051) 401-2584
Cell: 083 645 2454
E-mail: loaderl.stg@mail.uovs.ac.za
2 November 2004

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