Keeping the African sound relevant

Abstract

Since the establishment of Sibikwa, it has been evident that South Africa's cultural heritage is in dire need of preservation through stage performance. The music vibe of the 1950s is generally regarded as the epitome of South Africa's musical heritage in developing cities such as Johannesburg. However, the musical heritage is far richer, and it is up to organisations such as Sibikwa to create a level of practical teaching with a fresh learning model, to reinvigorate the heritage and adopt a lobbying strategy to influence policy change in government. Traditional instruments are often associated with rural primitiveness and unschooled performers who are elderly and not interested in professionalising their practice; yet (as this chapter will show), when these performances take place in urban areas, they succeed in igniting interest within the urban youth, while at the same time activating indigenous music education appreciation. Inasmuch as the Sibikwa Arts Indigenous Orchestra challenges the status quo (by providing new modes of music performances for teaching and learning), it also centres itself within the nascent debate around arts education in South Africa. This is the era of a decolonising discourse in institutions of higher education and teaching and organisations such as Sibikwa. It is important to keep an orchestra like this one for the development of indigenous African music.