SOUTH AFRICA
PART 4
BELLWORK: DEFINE TERMS
 Creolization: As a result of colonization there was a mixture between people of
indigenous, African, and European descent.

 Sharpeville Massacre: 60 black Africans murdered while protesting Apartheid
legislation.
 Portamento glides: when the vocalist falls or slides to the lower pitch on
sustained tones.
 Re-africanization: to give control of the government back to the Africans; to re-
establish African culture.
ANNOUNCEMENTS
 Test on South Africa Tuesday May 6th.
 Reading Outline #23 due this Thursday, May 1st.
OUTCOMES
 Scholars Will:
 Grammar: Learn basic facts about South African music
 Logic: Learn how to gumboot dance
SHARPEVILLE MASSACRE
GUIDED NOTES
 The growth of the economy just before the apartheid increased
communication between ethnic groups
 African music is social. All performers submit to the invisible conductor
of the collective.
 King Kong: the first African Musical with black south African performers,
musicians and narrative 1950’s
 South Africans are one of the first countries in the world to run a
successful multicultural democrary
HOW DANCE AND MELODY SHAPE ARE
RELATED
 Leading tone “lifts the melody back onto the tone center.”
 This corresponds to concepts of dissonance and resolution.
 This melodic movement corresponds with the raising, dipping and
turning the body.
 During a dissonant note—a leading tone, the body may turn or dip.
 When returning to the tonic, or resolving the chord, the body may be
raised.
ACTIVE LISTENING #5
AFRICA
 Name all the instruments you hear in this track.
 In which genre would you classify this song?
 What makes this song sound South African?
JUST THE FACTS #5
AFRICA
 This song represents the brotherhood many South Africans feel for
African-Americans and their struggles against racial oppression.
 This song is a perfect example of Capetown Jazz.
 This song speaks of a longing for Africa and a vision for a new nation. It
is prophetic in nature, for when this song was written in the 1980’s
there was little hope for change or a bright future.
 The vocalist is Sathima Bea Benjamin
CFU: LEARN GUMBOOT DANCE
INSTRUCTIONAL VIDEOS
STEP #1
Hit 1 2 3 4
Then do that 3 times
Hit your knee with your right hand,
step first with your right foot.
Note: Hits are very quick.
STEP #2
Hit both hands on each thigh, then stamp
Hit stamp Hit stamp 3 4
Do this step 3 times
STEP #3
Turn to your right in a circle: “I fly”
Hit Right Left Hit right left hit right clap left
Then turn the other way
Hit right left Hit right left hit right clap left
CHARACTERISTICS OF SOUTH AFRICAN
MUSICAL LANGUAGE:
NAME THREE
Non-verbal utterances
Tonal Language
Words articulate life experience
COMMON BELIEFS OF THE ZULU AND
TSWANA PEOPLES
A belief in:
the continuing existence between the living and the
dead
Healing
Prophecy
ZULU PHILOSOPHY
“Man can only become fully human
through his relationships with his fellow
men”
NAME THREE
 Characteristics of South African Musical language:

 Non-verbal utterances
 Tonal Language
 Words articulate life experience
CFU: CLICK!-VIDEO
 Xhosa is a “click” language, related to the Zulu language.
 Three different click sounds are used:
 1. “c” is a soft click.
 2. “q” is a harder click—with the tongue to the sides of the teeth
 3. “x” is like the sound of a galloping horse
CFU: SOLFEGE
CURWEN HAND
SIGNS
IN SOUTH AFRICA,
CHOIRS SING
PIECES COMPLETELY
IN SOLFEGE BEFORE
ADDING ANY
WORDS.
SIGNING SIMPLE SOLFEGE
 Warm-up to sing:
 Breathing, Buzz,Vowels
 Hand signs first
 1. Do Re Mi Re Do
 2. Do Re Mi Fa Mi Re Do
 3. Do Re Mi Fa So Fa Mi Re Do
SKIPPING
 1. So Mi Mi
 2. So Mi Do
 3. So Mi Do Do Do
 4. So Fa Mi Re Do
SOLFEGE AND MUSIC
 Solfege corresponds to written music in the following way:
 Do=C
 Re=D
 Mi=E
 Fa=F
 So=G
 La=A
 Ti=B
TRANSLATE THIS MUSIC INTO SOLFEGGE
C D E D C
C D E F G A B C
C C E E G G C
C E D E D C
GUIDED NOTES
 Musical performance often reflected, resisted, or predicted these socio-
political changes.
 The tempo of most South African music is slow.
 Zulu favor types of word distortion regarding syllable length and
placement, often elongating certain vowels and stressing syllables on offbeats.
 Many Instrumental pieces are transcriptions of vocal pieces.
ACTIVE LISTENING #6
GUMBOOT VIDEO
 There are 3 types of percussion demonstrated here. They are:
 There are 4 types of vocalization here. They are:
JUST THE FACTS #6
GUMBOOT VIDEO
 Dancers used bottle caps on the bottom of their boots for rattles, or
pebbles in shoe polish tins.
 The purpose of gumboot dance is to lighten the load of communal labor.
EXIT TICKET
 Name two common beliefs of the Zulu and Tswana peoples:
 How do the Zulu sing words differently than when they speak them?
 Name two characteristics of South African Musical language:
 What is re-africanization?