This article looks at an example of the fluid nature of performed izihasho (praise poetry/personal oralidentity) where the example of an oral text differs according to the performance, the performer, theaudience and the context of the performance. In other words, the content of the oral expression isdetermined by who is performing, where he/she is performing (on what occasion) and the audience towhom the performance is being delivered
Recent developments in isiZulu poetry have been marked by an emergence of performance poets whose po...
Since the publication of Ruth Finnegan’s influential Oral Literature in Africa, way back in 1970, sc...
The article explores the individual differences of rhythmic variation in traditional sung oral poetr...
It is common knowledge in oral literature that every oral form is naturally performed. The component...
The boundary between song and some forms of verse or declamation which are nowadays classified as "o...
The article defines poetry and situates the genre within an African context, with justifications on ...
In written literary traditions the distinction between text and performance seems self-evident. The ...
This study is set to explore the theory of speech acts with special reference to Zulu. This is done...
This study examines the relationship between composed songs in isiXhosa and the field of oral litera...
The discussion that follows presents extracts from a filmed performance by the 'yan gambara, with th...
D.Litt. et Phil.Approaches to folklore/oral forms have evolved from an interest in things (texts are...
The thesis is based largely on Zulu praise poetry collected in South Africa in 1975-6. It emphasises...
D.Litt. et Phil.Approaches to folklore/oral forms have evolved from an interest in things (texts are...
Oral tradition? Verbal art? Traditional literature? Performance? The terms used for oral art in Sout...
This paper is a continuation of a series of studies in which I have been looking at various aspects ...
Recent developments in isiZulu poetry have been marked by an emergence of performance poets whose po...
Since the publication of Ruth Finnegan’s influential Oral Literature in Africa, way back in 1970, sc...
The article explores the individual differences of rhythmic variation in traditional sung oral poetr...
It is common knowledge in oral literature that every oral form is naturally performed. The component...
The boundary between song and some forms of verse or declamation which are nowadays classified as "o...
The article defines poetry and situates the genre within an African context, with justifications on ...
In written literary traditions the distinction between text and performance seems self-evident. The ...
This study is set to explore the theory of speech acts with special reference to Zulu. This is done...
This study examines the relationship between composed songs in isiXhosa and the field of oral litera...
The discussion that follows presents extracts from a filmed performance by the 'yan gambara, with th...
D.Litt. et Phil.Approaches to folklore/oral forms have evolved from an interest in things (texts are...
The thesis is based largely on Zulu praise poetry collected in South Africa in 1975-6. It emphasises...
D.Litt. et Phil.Approaches to folklore/oral forms have evolved from an interest in things (texts are...
Oral tradition? Verbal art? Traditional literature? Performance? The terms used for oral art in Sout...
This paper is a continuation of a series of studies in which I have been looking at various aspects ...
Recent developments in isiZulu poetry have been marked by an emergence of performance poets whose po...
Since the publication of Ruth Finnegan’s influential Oral Literature in Africa, way back in 1970, sc...
The article explores the individual differences of rhythmic variation in traditional sung oral poetr...