MARC Record from marc_columbia

LEADER: 03346cam a2200433 i 4500
001 15370718
005 20210312101103.0
008 201125s2020 sa a b 001 0 eng d
035 $a(OCoLC)on1224161412
040 $aYDX$beng$cYDX$dOI@$dOCLCO$dOCLCF$dNNC
020 $a1869144643$q(paperback)
020 $a9781869144647$q(paperback)
035 $a(OCoLC)1224161412
043 $af-sa---
050 4 $aML3917.S62$bZ66 2020
082 04 $a305.40968$223
049 $aZCUA
100 1 $aZondi, Nompumelelo Bernadette,$eauthor.
245 10 $aBahlabelelelani : why do they sing? :$bgender and power in contemporary women's songs /$cby Nompumelelo Berndaette Zondi.
264 1 $aPietermaritzberg, South Africa :$bUniversity of KwaZulu Natal Press,$c2020.
300 $aix, 168 pages :$billustrations ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 158-162) and index.
520 $aIndigenous societies that are steeped in patriarchy have various channels through which they deal with abusive characteristics of relations in some of these communities. One such route is through songs, which sanction women to voice that which, bound by societal expectations, they would not normally be able to say. This book focuses on the nature of women's contemporary songs in the rural community of Zwelibomvu, near Pinetown in KwaZulu-Natal. It aims to answer the question 'Bahlabelelelani - Why do they sing?', drawing on a variety of discourses of gender and power to examine the content and purposes of the songs. Restricted by the custom of hlonipha, women resort to allusive language, such as is found in ukushoza, a song genre that includes poetic elements and solo dance songs. Other contexts include women's social events, such as ilima, which refers to the collective activity that takes place when a group of women come together to assist another woman to complete a task that is typically carried out by women. During umgcagco (traditional weddings) and umemulo (girls' coming-of-age ceremonies), songs befitting the occasion are performed. And neighbouring communities come together at amacece to perform according to izigodi (districts), where local maskandi women groups may be found performing for a goat or cow stake. The songs, when read in conjunction with the interviews and focus group discussions, present a complex picture of women's lives in contemporary rural KwaZulu-Natal, and they offer their own commentary on what it means to be a woman in this society.
650 0 $aMusic$xSocial aspects$zSouth Africa.
650 0 $aSongs, Zulu$xHistory and criticism.
650 0 $aOral tradition$zSouth Africa.
650 0 $aWomen, Black$zSouth Africa.
650 0 $aZulu (African people)$xRites and ceremonies.
650 7 $aMusic$xSocial aspects.$2fast$0(OCoLC)fst01030444
650 7 $aOral tradition.$2fast$0(OCoLC)fst01047117
650 7 $aSongs, Zulu.$2fast$0(OCoLC)fst01126584
650 7 $aWomen, Black.$2fast$0(OCoLC)fst01178916
650 7 $aZulu (African people)$xRites and ceremonies.$2fast$0(OCoLC)fst01184904
651 7 $aSouth Africa.$2fast$0(OCoLC)fst01204616
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
852 00 $boff,mus$hML3917.S62$iZ66 2020g