The Changing Faces of Aawambo Musical Arts

Minette Mans

Description

How does a peoples’ music reflect their history, their occupations, cultural beliefs and values? These are the core questions that this book addresses in relation to the Aawambo people of Namibia. The author, herself born and bred in Namibia, brings to the fore the nuanced views of different people, describing their personal musical experiences — past as well as present. This is the first time that the music and stories of contemporary Namibian musicians is shared alongside those of the elderly. Similarly, it is the first time that some of the traditional Aawambo dances are analysed and described, abundantly illustrated with colourful photographs and several songs. Based on years of personal research, this book will appeal to research scholars, students and other interested readers alike, since its style is accessible but detailed, personal yet objective. Recommended for all those interested in culture, anthropology, the arts, and Namibian studies.

Sujets

• Music

Informations

• Publié par: Basler Afrika Bibliographien
• Date de parution: 22 mai 2017
• Nombre de lectures: 1
• EAN13: 9783905758948
• Langue: English
• Poids de l'ouvrage: 47 Mo

Extrait

he Cangîng Faces o Aawambo Musîca Arts

Minette Mans wît Ngoma Researc Coectîve

he Canging Faces of Aawambo Musical Arts

Baser Arîka Bîbîograpîen 2017

©2017 he autor ©2017 Baser Arîka Bîbîograpîen

Baser Arîka Bîbîograpîen Namîbîa Resource Centre & Soutern Arîca Lîbrary Kosterberg 23 PO Box CH-4051 Base Swîtzerand www.baserarîka.c

A rîgts reserved.

Eforts were made to trace te copyrîgt oders o îustratîons and maps used în tîs pubîcatîon. We apoo- gîse or any încompete or încorrect acknowedgements.

Cover poto: Leg movement component în uudano Potograper: Mînette Mans

ïSBN 978-3-905758-83-2 ïSSN 2296-6986

Contents

Preface

1

2

3

4

Aawambo People in Namibia: History and Musical Heritage Pre-coonîa Kîngdoms Encounterîng te Crîstîan Mîssîonarîes he Sout Arîcan Aparteîd Era he Armed Strugge or ïndependence Contemporary Musîc

he Work We Do: Performing Daily Lives Oondjambî Omapîtîo – Bîrtîng and Namîng Songs Ondjupa Uusîta – Herdîng Okwîîtanga – Praîse Cants

Praise and Endurance: Wat Men Value Loneîness Musîc Hope Musîc Traveîng Musîc Reîgîous Musîc Recreatîona Pay Marua Ceebratîons Songs or Kîngs Ongovea A Lîon Hunt

New from Old: Women and teir Weddings Caracterîstîcs Ouuko Dances Musîca ïnstruments Cotîng Tîme and Pace Namunganga

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1 4 11 17 19 22

24 29 30 33 34 34

36 37 40 40 40 41 42 42 44 51

53 58 63 65 67 70 70

5

6

7

8

9

he Process Modern Oango

Moonligt Play: Teacing Old, Developing New Payîng Socîa Cîrcumstance Structure Women’s Moonîgt or Entertaînment Pay

Myts & Metapors: te Enduring Magic of Stories Storyteers and Storyteîng Storîes Storîes as Entertaînment and Educatîon Storîes, Storyteîng and Praîse Poetry Poetry and Songs durîng te Strugge Storîes or Spîrîtuaîty, Heaîng Namunganga and Eenganga

Urban Osiwambo Music: Hybrid Realities Durîng te Strugge Musîc o Today Lîve Musîc Kwaîto Women în Contemporary Musîc

An Aawambo Musical World: a heoretical Position Musîca Categorîes Repertoîres Mîcro-organîsatîon o Aawambo Sound Practîces Aestetîcs and Vaues

A Collection of Aawambo Songs

Abbrevîatîons Lîst o ïustratîons Gossary o Perormance-reated Terms Gatered durîng Fîed Researc Bîbîograpy ïndex

72 78

83 85 86 91 94

102 103 105 105 109 110 111 112

121 122 126 128 129 131

133 134 135 137 140

144

162 162 163 177 182

Acknowledgments

Puttîng togeter te înormatîon în tîs book as been a major task over a perîod o years. ït as, owever, not been a pat waked aone. From te begînnîng o te process – te ied researc begun în 1999, tere ave been many peope wo ave contrîbuted tîme, înormatîon, îdeas and musîc. he autor wîses to express sîncere apprecîatîon to te our young peope wo were înterested în wrîtîng, researcîng and urter deveopîng eectronîc medîa to dîssemînate tîs înormatîon, namey Sîsanî Vranckx, ïsmae Sam, Jacques Nasîongwesîpwe Musaandja, and Trîxîe Munyama. Eac îs îgy know- edgeabe în a dîferent ied o perormîng arts. You brougt înspîratîon and îdeas to tîs project and sared your îdeas and knowedge reey. hank you. Wîtout you ï woud ave gîven up wen te goîng was toug. To a te înormants tat guîded me, în te nort and în Wîndoek, my greatest ap- precîatîon or your wîîngness to sare and your generosîty în wecomîng me înto your omes and envîronment. hanks tereore or permîssîon to înquîre and or înormatîon: Kîng Sîkongo Taapopî at Tsandî, Uukwauudî; Kîng Japet Munkundî at Uukwandon- go o Ongandjera; Cîe Oswîn Mukuu and wîe Mîkae Suama o Ombaanu – aso or aowîng us to stay at your ome; Andreas Toîvo Sîkuu, tank you or openîng your ome to me; and Jonas Jason, homas Ndamesîme, Corneîus Angua, Nasser Neenge, Sakarîa Angua, Muxwangî yaNdakoa, Sadraka Haîenge, Erasmus Twakuîwa, Jona Katewa, Abraam Haîpumbu o Wîndoek or your souu sîngîng o ongovea; Kuku Monîka Abîsaî and Tatekuu Joannes Andjaba or ospîtaîty and înormatîon; Marîa Mbwada (Mayana ïsîtîe) o Onaîtembu or a your sarîng and awesome knowedge; Teodensîa Kasîîma, Maîyana Naundjoba, Rosaînde Nambîî, Sîmson Muupopya, Benî- sîa Andowa, Magdaena Aîete, Fîîpa Angua, Monîka Nangoo, Ngenoea Taanyanda, Lîndîvîne Tuyenî, Asteîa Hîikwa, Evaîsta Langamenî, Maîseîne Kaîî, Rosaînde Da- vîd or perormances în and around Outapî; Saara Andjaba-Lukîenî (and Herta) or openîng your ome to us; and sweet cîdren at Omaae – Saara Ndîneau, Saara Ngî- ikwa, Fîîna Eîkan, Veronîca Katîtî, Race Moomboa, Marta Endjaa, Tuuî Mateus, Veemîna and Abertîna Gomes, Rosa-Marîa Sîkongo or energetîc îîdano! ïn Ongandjera my gratîtude to Ester Tuna o Uukwamatsî or ospîtaîty durîng our stay at your ome; Vîstorîna Amukweya and Saartî Lukenîko o Okaîî or okayagayaga payîng; Andreas Seepo, and Hevî Kakoa, Vîstorîna Amukweya, Josepîne Amukweya, Marîa Amukweya, Aîna Uugwanga, Eunîce homas, Dînanîne Lukenîko, Heena Am- atîa, Cecîîa Amwaawa, Wîemîna Josep, Emma Amukweya, and Aîne Amukweya

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or wonderu dancîng at Osukwa în Ongandjera; Crîstopîne Embua at Okangora; Rîîs Sîkomba în Uukwandongo, and Vîktorîa Namîo o Onandjîra or înormatîon. Not orgettîng te cîdren Loînî, Ananîas Angua, Rosaîa, Sema, Vaîna, Kamatî, Ester and Lînîa at Uukwamatsî, or teîr îîdano. ïn Uukwauudî my sîncere tanks to Magano Kakwambî at Ounkuo or tîme and înormatîon; Stepanus Sau Tjanîngwe, Joannes Nîîngo, Wîîbard Hango, Sîmon Saanîka, Veîko ïsîa, Loîde ïyambo, Hîka Martîn or songs and înormatîon. hanks to Pastor Jason Amukutuwa at Eîm, Uukwambî, or ours spent takîng în- ormatîvey; Mr Cîe Ankama, în Osakatî; Josua Sanîngwa Osîtayî în Ondangwa, and ast but not east, ïdda Makende Sîvoo Sîtemba and entîre amîy at Ongaî or rîendsîp, ospîtaîty and înormatîon (and a wonderu weddîng), and to Keîran Mans or accompanyîng me and takîng pîctures. O course, te students wo assîsted în me 1999 and 2000 wîe receîvîng traîn- îng în ied work tecnîques need to be mentîoned or teîr work, good company and îdeas. Surnames o te young women ave probaby canged. hey were Aîna Angombe, Ester Gabrîe, Herta Lukîenî, and Etîenne Roux, my son. My od coeague rom many moons ago coected storîes up nort, unded by te ten Department o Mu- sîc at te Unîversîty o Namîbîa, so tanks to Betty Hango-Rummukaînen, wo aso sang me te meody o Nekoto wîe ï jotted ît down. At tat tîme, our ied researc was co-sponsored by UNAM and te Frenc Department o Cooperatîon în Namîbîa and Emmanuee Oîvîer coaborated în te researc. Musîc recordîngs and some o te înormatîon was gatered by er. Many tanks aso to Dr. Petrus Mbenzî, UNAM, or assîstîng wît te termînoogy and usage o Osîndonga and oter dîaects, and especîay te “deep Osîndonga” prases tat younger peope were unabe to înterpret. As aways, Namîbîans soud tank te Natîona Arcîves o Namîbîa or înormatîon and use o îstorîc coectîons. hey perorm suc an împortant unctîon în te country. A wrîter becomes a dîferent, drîven, sînge-mînded kînd o beîng wîe workîng on a book. To my amîy, especîay Jan, or aways supportîng me în anoter years-ong endeavour to produce tîs book, my most eartet ove and tanks. You never doubted ï woud inîs, even wen ît seemed îgy unîkey!

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Preface

Tryîng to conine te dîversîty o a peope’s musîca practîces în one book, even ten, îs a dauntîng and peraps even împossîbe task. As an outsîder to tat cuture, ît îs even more dîIcut to convey te weat o înormatîon o tona as we as gestura symboîsm, especîay troug te medîum o words. hîs îs, owever, te task ï undertook wen, due to serîous îness, ï became araîd tat te researc ï and oters ad done on te musîca cutures o dîferent Aawambo groups în nort and centra Namîbîa woud be ost î te task was not undertaken îmmedîatey. More tan a decade ad passed sînce coectîng te data and ît was not res în my mînd anymore. For tîs reason ï decîded to approac a ew up-and-comîng perormîng artîsts în Wîndoek wo were a Osîwam- 1 bo-speakîng. My questîon to tem was – woud you be înterested în coaboratîng on a wrîtîng-researc project on Namîbîa’s Aawambo musîc, dance, and drama tradîtîons, as we as contemporary, maîny urban, deveopments? he young peope, a proessîona teacers or post-graduate students în te broad perormîng arts ied, were entusîastîc. hus was te project born. My second caengîng questîon to eac o te our persons was: Wy? ï knew were my înterest ad begun, but were dîd teîrs? As a cîd în Tsumeb, Namîbîa, ï dîsappeared rom ome one day. ït was în te eary 1950s and ï was about tree or our years od wen ï took of on my red trîcyce wîtout my moter notîcîng. ï apparenty trunded about our bocks down to te centra donga (water trîcke) tat we grandy caed “he Jordan Rîver”. ït spît te town în two sec- tîons on îts way to te copper mîne and sat wîc commanded a posîtîon rîgt în te centra busîness area. Someow ï traversed tîs area and, not beîng very notîceabe în te oow o te rîvuet, got past te mîne ence în te rîver and contînued out and înto te area were mîners gatered. Maybe ît was durîng a tea break? Anyway, many men were gatered tere. Most o tese men were tere as part o te înamous conscrîpted abour system o wîc ï, as a prîvîeged wîte cîd, was totay unaware. But ï was an exporer and despîte a vague îdea tat ît was not aowed, needed to ind my own way o earnîng tîngs.

1

here îs, în act, no suc anguage as Osîwambo. he term îs merey a ocay coîned term or te reated anguages spoken by Aandonga, Aakanyama, Aankwambî, Aankwauudî, Aambaanu and smaer Aawambo groups o peope. Ony two o tese anguages ave a wrîtten orm, namey Osîk- wanyama and Osîndonga. he numerîcay smaer western trîbes speak dîaects tat reate strongy to Osîndonga. hîs as compîcated certaîn terms used în tîs book, sînce nobody seems to be quîte sure ow to wrîte and spe certaîn esser known terms. Mîstakes în tîs regard are te autor’s.

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