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Poster.pdf | Poster - Christianity and Music in (Southern) Africa | Mgr. Vít Zdrálek, Ph.D. |
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Poslední úprava: Mgr. Vít Zdrálek, Ph.D. (11.01.2018)
Along with colonial politics and economy Christianity has been of fundamental and lasting influence on African societies since the 19th century. However, once relatively stable, the imported religious cultures represented by missionary societies from various European countries have soon found themselves being irreversibly transformed by the African converts, acquiring countless forms of religious expression. Music as one of the innermost expressions of culture and an indispensable religious vehicle has played a crucial role in the encounter. Moreover, from an early stage, the emerging religious cultures have become interconnected with other locations of religious music production, above all the United States via the transatlantic routes and flows. The clash as well as melting of different religious musical ideas, practices and sounds played out against the colonial and post-colonial backdrop has often been not only dramatic but also extremely revealing of the complexities of the modern world. Based on reading texts from various disciplines, listening to and watching the musical performances as well as learning to read and understand the primary sources the course offers an insight into this fascinating historical, cultural and musical transformation. Students from all subjects and specializations in humanities are welcome. Those from ethno/musicology, anthropology, history, religious and African studies would probably benefit the most, though. |
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Poslední úprava: Mgr. Vít Zdrálek, Ph.D. (17.01.2018)
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Text and Authority in the South African Nazaretha Church. Cambridge: Cambridge Unviersity Press. COMAROFF, Jean. 1985. Body of Power Spirit of Resistance. Chicago and London: The University of Chicago Press. Comaroff, Jean and COMAROFF, John. 1991. Of revelation and revolution: The Dialectics of Modernity on a South African Frontier, Volume I. Chicago: University of Chicago Press. Comaroff, Jean and COMAROFF, John. 1997. Of revelation and revolution: The Dialectics of Modernity on a South African Frontier, Volume II. Chicago: University of Chicago Press. COPLAN, David B. 2008 (1985). In Township Tonight! South Africa’s Black City Music and Theatre. Chicago and London: The University of Chicago Press. COPLAN, David B. and JULES-ROSETTE, Bennetta. 2005. ‘Nkosi Sikelel’ iAfrika and the Liberation of the Spirit of South Africa’. African Studies 64/2: 285-308. DARGIE, David 1984. ‘African Church Music and Liberation’ In Papers Presented at the Third and Fourth Symposia on Ethnomusicology. Grahamstown: International Library of African Music, 9-14. DARGIE, David. 1997. ‘Christian Music Among Africans’ In Richard Elphick and T. R. H. Davenport (eds.) Christianity in South Africa: A Political, Social, and Cultural History. London: James Currey, 319-326. DARGIE, David. 2010. ‘Xhosa Zionist Church Music: A Liturgical Expression beyond the Dreams of the Early Missionaries’. Missionalia: Southern African Journal of Mission Studies 38/1: 32-53. ELPHICK, Richard and DAVENPORT, Rodney. 1997. Christianity in South Africa: A Political, Social and Cultural History. Oxford: James Currey and Cape Town: David Philip. ERLMANN, Veit. 1994. ‘Africa Civilized, Africa Uncivilized: Local Culture, World System and South African Music’. Journal of Southern African Studies 20/2: 165-179. GILROY, Paul. 1993. The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard University Press. JORRITSMA, Marie. 2011. Sonic Spaces of the Karoo: The Sacred Music of a South African Coloured Community. Johannesburg: Wits University Press. KIERNAN, James P. 1974. ‘Where Zionists Draw the Line: A Study of Religious Exclusiveness in an African Township’. African Studies 33/2: 79-90. KIERNAN, James P. 1976a. ‘Prophet and Preacher: An Essential Partnership in the Work of Zion’. Man 11/3: 356-366. KIERNAN, James P. 1976b. ‘Public Transport and Private Risk: Zionism and the Black Commuter in South Africa’. Journal of Anthropological Research 33/2: 214-226. KIERNAN, James P. 1976c. ‘The Work of Zion: An Analysis of an African Zionist Ritual’. Africa: Journal of the International African Institute 46/4: 340-356. KIERNAN, James P. 1978. ‘Saltwater and Ashes: Instruments of Curing among Some Zulu Zionists’. Journal of Religion in Africa 9/1: 27-32. KIERNAN, James P. 1988. ‘The Other Side of the Coin: The Conversion of Money to Religious Purposes in Zulu Zionist Churches’. Man 23/3: 453-468. KIERNAN, James P. 1990. ‘The Canticles of Zion: Song as Word and Action in Zulu Zionist Discourse’. Journal of Religion in Africa 20/2: 188-204. KIERNAN, James P. 1991. ‘Wear ‘N’ Tear and Repair: The Colour Coding of Mystical Mending in Zulu Zionist Churches’. Africa 56/1: 26-39. KIERNAN, James P. 1996. ‘The Zionist Congregation over Time. Continuity and Change in Social Composition and Structure’. African Studies 55/2: 69-88. Lifela tsa Sione (24th edition revised, 47th printing). Morija (Lesotho): Morija Sesuto Book Depot, 2006. LUCIA, Christine. 2005a. The World of South African Music: A Reader. Newcastle upon Tyne: Cambridge Scholars Press. LUCIA, Christine. 2008. ‘Back to the Future? Idioms of ‘Displaced Time’ in South African Composition’ In Grant Olwage (ed.) Composing Apartheid: Music for and against Apartheid. Johannesburg: Wits University Press: 11-34. LUCIA, Christine. 2011. ‘Joshua Pulumo Mohapeloa and the Heritage of African Song’. African Music: Journal of the International Library of African Music. 9/1: 56-86. LUCIA, Christine. 2011. Music Notation: A South African Guide. Pretoria: UNISA Press. LUCIA, Christine. 2014. ‘Composing Towards/Against Whiteness: The African Music of Mohapeloa’ In Lucy Michael and Samantha Schulz (eds.) Unsettling Whiteness. Oxford: Inter-Disciplinary Press: 219-230. MAPAYA, Madimabe G. 2013. ‘Music Traditions of the African Indigenous Churches: A Northern Sotho Case Study’. Southern African Journal for Folklore Studies 23/1: 46-61. MTHETHWA, Bongani. 1984. ‘Western Elements in Shembe’s Religious Dances’ In Papers Presented at the Third and Fourth Symposia on Ethnomusicology. Grahamstown: International Library of African Music: 34-37. MTHETHWA, Bongani. 1991. ‘Re-Incorporation of Musical Instruments in Isaiah Shembe’s Hymns’ In Carol Muller (ed.) Papers Presented at the Tenth Symposium on Ethnomusicology. Grahamstown: International Library of African Music: 120-124. MTHETHWA, Bongani. 1992. ‘Shembe’s Hymnody and the Ethical Standards and Worldview of Amanazaretha’ In G. C. Oosthuizen and Irving Hexham (eds.) Empirical Studies of African Independent/Indigenous Churches. Levinstone, Queenstown and Lampeter: The Edwin Mellen Press: 239-257. MULLER, Carol A. 1993. ‘Singing of Struggle and Sanctuary: The Intersections of Song, Dreams, and Narratives amonst Nazarite Women’ In Carol Muller (ed.) Symposium Proceedings "Music in Southern Africa": Eleventh Symposium on Ethnomusicology, 23-25 August 1993. Grahamstown: International Library of African Music: 99-103. MULLER, Carol A. 1997. ‘"Written" into the Book of Life: Nazarite Women's Performance Inscribed as Spiritual Text in "Ibandla lamaNazaretha"’. Research in African Literatures 28/1: 3-14. MULLER, Carol A. 1999. ‘Chakide - The Teller of Secrets: Space, Song and Story in Zulu Maskanda Performance.’ In Duncan Brown (ed.) Oral Literature and Performance in Southern Africa. Oxford: James Currey, Cape Town: David Philip and Athens: Ohio University Press: 220-234. MULLER, Carol A. 2002. ‘Archiving Africanness in Sacred Song’. Ethnomusicology 46/3: 409-431. MULLER, Carol A. 2006/1999. Rituals of Fertility and the Sacrifice of Desire: Nazarite Women's Performance in South Africa. Chicago and London: The University of Chicago Press. MULLER, Carol A. 2008 (2004). Focus: Music of South Africa. New York and Oxford: Routledge. MULLER, Carol A. (ed.). 2010. Shembe Hymns (translated by Bongani Mthethwa). Pietermaritzburg: University of KwaZulu Natal Press. MÜLLER, Retief. 2008. ‘Rain Rituals and Hybridity in Southern Africa’. Verbum et Ecclesia 29/3: 819-831. MÜLLER, Retief. 2011. African Pilgrimage: Ritual Travel in South Africa's Christianity of Zion. Aldershot: Ashgate. NAUDÉ, Piet. 1995. The Zionist Christian Church in South Africa. A Case-Study in Oral Theology. Lewiston, Queenstown and Lampeter: The Edwin Mellen Press. OLWAGE, Grant. 2002. ‘Scriptions of the Choral: The Historiography of Black South African Choralism’. South African Music Studies 22: 29-45. OLWAGE, Grant. 2003. Music and (Post)colonialism: The Dialectic of Choral Culture on a South African Frontier (unpublished Ph.D. thesis). Rhodes University. OLWAGE, Grant. 2004. ‘The Class and Colour of Tone: An Essay on the Social History of Vocal Timbre’. Ethnomusicology Forum, XIII, 2: 203-226. OLWAGE, Grant. 2006. ‘John Knox Bokwe, Colonial Composer: Tales about Race and Music’. Journal of the Royal Musical Association 131/1: 1-37. OLWAGE, Grant. 2008. ‘Apartheid's Musical Signs: Reflections on Black Choralism, Modernity and Race-Ethnicity in the Segregation Era’ In Grant Olwage (ed.) Composing Apartheid: Music for and against Apartheid. Johannesburg: Wits University Press: 35-54. RAFAPA, Lesibana. 2013. ‘Popular Music in the Zion Christian Church’. Muziki: Journal of Music Research in Africa 10/1: 19-24. RAMOGALE, Marcus and GALANE, Sello. 1997. ‘Faith in action: Mokhukhu of the Zion Christian Church’. Festival of American Folklife. Washington, DC: Smithsonian Institution, 63-66, available online http://www.folklife.si.edu/resources/Festival1997/faithin.htm, (accessed 15 March 2015). SCHOFFELEERS, Matthew. 1991. ‘Ritual Healing and Political Acquiescence: The Case of the Zionist Churches in South Africa’. Africa 60/1: 1-25. SKELTON, Colin. 2009. Spiritual Circles: Ritual and the Performance of Identities in the Zionist Christian Church (unpublished master thesis). University of Witwatersrand. SUNDKLER, Bengt G. M. 1961 (1948). Bantu Prophets in South Africa. London, New York and Toronto: Oxford University Press. SUNDKLER, Bengt G. M. a Christopher STEED. 2000. A history of the church in Africa. Cambridge, UK: Cambridge University Press, Dostupné z: http://site.ebrary.com/lib/cuni/Doc?id=10005027 VENTER, Dawid. 2004. ‘Concepts and Theories in the Study of African Independent Churches’ In Dawid Venter (ed.) Engaging Modernity: Methods and Cases for Studying African Independent Churches in South Africa. Westport, Connecticut: Praeger Publishers: 13-43. WEST, Martin. 1975. Bishops and Prophets in a Black City: African Independent Churches in Soweto, Johannesburg. Cape Town: Dabid Philip. Zion Christian Church Hymn Book. Lifela tsa Sione. Morija (Lesotho): Morija Sesuto Book Depot, 2004. |
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Poslední úprava: Mgr. Vít Zdrálek, Ph.D. (21.02.2018)
The course is based on 1/ reading, discussing and interpreting texts, both historical sources and contemporary academic writing from various disciplines (namely ethno/musicology, anthropology and history), 2/ listening to and watching, analyzing and interpreting both historical and contemporary audio-visual material such as studio as well as field recordings and videos, including my own, and 3/ understanding printed primary musical sources in tonic sol-fa notation like hymnbooks. Different activities are regularly distributed into different parts of each class making up coherent thematic blocs throughout the semester. Your regular and active attendance is important. There is a prescribed reading and/or listening or watching for every class requiring home preparation. You will be asked to submit four critical summaries during the semester and a final assignment at the end of the semester. They will be marked and discussed in the class where you will also be invited to present their main arguments to the rest of the class. |
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Poslední úprava: Mgr. Vít Zdrálek, Ph.D. (21.02.2018)
You are required to 1/ attend the classes (there is a tolerance up to three absences) actively participate in the discussion, 2/ have four twenty minutes long presentations of the main arguments of the prescribed texts and submit their critical summaries (1000-1500 words) in the class following your presentation (printed and via e-mail) 3/ prepare a set of at least five questions critically examining the text discussed in every class except when you are presenting 4/ submit an original essay based on two prescribed or other recommended texts of preferably two different kinds, one descriptive and one theoretical, the last class of the semester (4000-5000 words) 5/ present your arguments (10 minutes) during the final discussion in the first week of the exam period |
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Poslední úprava: Mgr. Vít Zdrálek, Ph.D. (11.01.2018)
The syllabus is in preparation. |
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Poslední úprava: Mgr. Vít Zdrálek, Ph.D. (04.01.2018)
There are no entry requirements. Students from all subjects and specializations in humanities are welcome. Those from ethno/musicology, anthrology, history, religious and African studies would probably benefit the most, though. |