Dizu Plaatjies and the Amampondo : music, agency and social transformation

Thesis (MMus)--Stellenbosch University, 2018.ENGLISH ABSTRACT: Using different concepts that include Arjun Appadurai’s (2004) “capacity to aspire”, Pierre Bourdieu’s (1990) “habitus”, Clifford Geertz’s (1973b) “thick description” and Christopher Small’s (1998) “musicking”, this thesis focuses on reimagining discourse on transformation in post-1994 South Africa in terms of socio-economic empowerment through music. The research presents a case of how culture (specifically music) has been used by Dizu Plaatjies and the Amampondo musical group, viewed as social actors, as a capacity for social transformation. Drawing from the ongoing discourses on transformation, as well as the recent university student uprisings in South Africa (the fallisms “#RhodesMustFall” and “#FeesMustFall”), this thesis argues that culture is a “web of significance” and a “logic” that holds the potential for a holistic transformation of post-1994 South Africa. The research suggests that transformation and social development must be located in the lived experiences of ordinary people, especially the historically disadvantaged. Discourse on transformation, including musical discourse, should be focused on empowerment strategies of South Africans at grassroots level.AFRIKAANS OPSOMMING: Met die aanwending van verskeie konsepte wat insluit Arjun Appadurai se (2004) “kapasiteit om te strewe”, Pierre Bourdieu se (1990) “habitus”, Clifford Geertz se (1973b) “digte beskrywing” en Christopher Small se (1998) “musicking”, poog hierdie tesis om die diskoers oor transformasie in post-1994 Suid-Afrika te herfokus met betrekking tot sosio-politieke bemagtiging deur musiek. Die navorsing wys hoe kultuur (meer spesifiek musiek) gebruik is as a kapsiteit vir sosiale transformasie deur Dizu Plaatjies en die Amampondo musiekgroep in hul hoedanighed as sosiale rolspelers. Die tesis werk met voortslepende diskoerse van transformasie, sowel as die onlangse universiteitsproteste deur studente in Suid-Afrika (die fallisms “#RhodesMustFall” and “#FeesMustFall”) en argumenteer dat kultuur ’n “web van betekenisgewing” en ‘n “logica” daarstel wat potensiaal inhou vir die holistiese transformasie van post-1994 Suid-Afrika. Die navorsing suggereer dat transformasie en sosiale ontwikkeling ontstaan in die belewenisse van gewone mense, by uitstek in die lewens van histories benadeelde mense. Diskoerse oor transformsie, insluitende musiekdiskoerse, behoort dust e focus op bemagtigingsstrategieë van Suid-Afrikaners op grondvlak