By the same authors

Tradition, Modernity, and Cultural Identity in Contemporary South Africa: the music of Tete Mbambisa, Louis Moholo-Moholo and Zim Ngqawana

Research output: Contribution to conferencePaperpeer-review

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Tradition, Modernity, and Cultural Identity in Contemporary South Africa : the music of Tete Mbambisa, Louis Moholo-Moholo and Zim Ngqawana. / Eato, Jonathan Edward.

2012. Paper presented at Music, Cultures, Identities. 19th International Musicological Society congress, Rome, Italy.

Research output: Contribution to conferencePaperpeer-review

Harvard

Eato, JE 2012, 'Tradition, Modernity, and Cultural Identity in Contemporary South Africa: the music of Tete Mbambisa, Louis Moholo-Moholo and Zim Ngqawana', Paper presented at Music, Cultures, Identities. 19th International Musicological Society congress, Rome, Italy, 1/07/12 - 7/07/12.

APA

Eato, J. E. (2012). Tradition, Modernity, and Cultural Identity in Contemporary South Africa: the music of Tete Mbambisa, Louis Moholo-Moholo and Zim Ngqawana. Paper presented at Music, Cultures, Identities. 19th International Musicological Society congress, Rome, Italy.

Vancouver

Eato JE. Tradition, Modernity, and Cultural Identity in Contemporary South Africa: the music of Tete Mbambisa, Louis Moholo-Moholo and Zim Ngqawana. 2012. Paper presented at Music, Cultures, Identities. 19th International Musicological Society congress, Rome, Italy.

Author

Eato, Jonathan Edward. / Tradition, Modernity, and Cultural Identity in Contemporary South Africa : the music of Tete Mbambisa, Louis Moholo-Moholo and Zim Ngqawana. Paper presented at Music, Cultures, Identities. 19th International Musicological Society congress, Rome, Italy.

Bibtex - Download

@conference{64554ca8dad3480e8827ebf1644458f3,
title = "Tradition, Modernity, and Cultural Identity in Contemporary South Africa: the music of Tete Mbambisa, Louis Moholo-Moholo and Zim Ngqawana",
abstract = "The 2010 IMS-SASRIM regional conference in Stellenbosch featured a composer{\textquoteright}s panel with three key South African musicians: Tete Mbambisa, Louis Moholo-Moholo, and Zim Ngqawana. Although they are all considered South African jazz musicians, have displayed similar political convictions, and share a common linguistic and cultural background – that of the amaXhosa – their musical and verbal statements display strikingly divergent relationships to the ideas of musical culture and musical identity.As Tony Whyton (2011) has pointed out, the understanding of jazz music is too often characterised by sets of antonyms. Indeed when considering the music of Mbambisa, Moholo-Moholo and Ngqawana it is easy to concentrate on the local vs. the international. But such antonymic readings are overly reductive and miss the many insights on music, culture and identity formation that these musicians can offer. Various notions of culture scream out from discussions on musical identity, but what does this mean for contemporary South African music in general? How are musicians tackling the idea of a positive {\textquoteleft}South African tradition{\textquoteright} in a contemporary urban society? How has the apartheid regime's co-option of rural 'tradition' for very negative ends affected this process?As Jean-Fran{\c c}ois Bayart (1996) theorized, identities are {\textquoteleft}at best a cultural construct, a political or ideological construct; that is, ultimately, a historical context.{\textquoteright} This paper will argue that the careful deployment of varying cultural and identity constructs by these three musicians provides a rich model for understanding the ways in which communities continually renegotiate their history and consequently their identity.",
keywords = "South Africa, Jazz, Culture, Identity, Improvisation",
author = "Eato, {Jonathan Edward}",
year = "2012",
month = jul,
day = "1",
language = "English",
note = "Music, Cultures, Identities. 19th International Musicological Society congress ; Conference date: 01-07-2012 Through 07-07-2012",

}

RIS (suitable for import to EndNote) - Download

TY - CONF

T1 - Tradition, Modernity, and Cultural Identity in Contemporary South Africa

T2 - Music, Cultures, Identities. 19th International Musicological Society congress

AU - Eato, Jonathan Edward

PY - 2012/7/1

Y1 - 2012/7/1

N2 - The 2010 IMS-SASRIM regional conference in Stellenbosch featured a composer’s panel with three key South African musicians: Tete Mbambisa, Louis Moholo-Moholo, and Zim Ngqawana. Although they are all considered South African jazz musicians, have displayed similar political convictions, and share a common linguistic and cultural background – that of the amaXhosa – their musical and verbal statements display strikingly divergent relationships to the ideas of musical culture and musical identity.As Tony Whyton (2011) has pointed out, the understanding of jazz music is too often characterised by sets of antonyms. Indeed when considering the music of Mbambisa, Moholo-Moholo and Ngqawana it is easy to concentrate on the local vs. the international. But such antonymic readings are overly reductive and miss the many insights on music, culture and identity formation that these musicians can offer. Various notions of culture scream out from discussions on musical identity, but what does this mean for contemporary South African music in general? How are musicians tackling the idea of a positive ‘South African tradition’ in a contemporary urban society? How has the apartheid regime's co-option of rural 'tradition' for very negative ends affected this process?As Jean-François Bayart (1996) theorized, identities are ‘at best a cultural construct, a political or ideological construct; that is, ultimately, a historical context.’ This paper will argue that the careful deployment of varying cultural and identity constructs by these three musicians provides a rich model for understanding the ways in which communities continually renegotiate their history and consequently their identity.

AB - The 2010 IMS-SASRIM regional conference in Stellenbosch featured a composer’s panel with three key South African musicians: Tete Mbambisa, Louis Moholo-Moholo, and Zim Ngqawana. Although they are all considered South African jazz musicians, have displayed similar political convictions, and share a common linguistic and cultural background – that of the amaXhosa – their musical and verbal statements display strikingly divergent relationships to the ideas of musical culture and musical identity.As Tony Whyton (2011) has pointed out, the understanding of jazz music is too often characterised by sets of antonyms. Indeed when considering the music of Mbambisa, Moholo-Moholo and Ngqawana it is easy to concentrate on the local vs. the international. But such antonymic readings are overly reductive and miss the many insights on music, culture and identity formation that these musicians can offer. Various notions of culture scream out from discussions on musical identity, but what does this mean for contemporary South African music in general? How are musicians tackling the idea of a positive ‘South African tradition’ in a contemporary urban society? How has the apartheid regime's co-option of rural 'tradition' for very negative ends affected this process?As Jean-François Bayart (1996) theorized, identities are ‘at best a cultural construct, a political or ideological construct; that is, ultimately, a historical context.’ This paper will argue that the careful deployment of varying cultural and identity constructs by these three musicians provides a rich model for understanding the ways in which communities continually renegotiate their history and consequently their identity.

KW - South Africa

KW - Jazz

KW - Culture

KW - Identity

KW - Improvisation

M3 - Paper

Y2 - 1 July 2012 through 7 July 2012

ER -