The controversy around the ANC Youth League leader, Julius Malema — and by
extension against the African National Congress — singing “Dubula iBhunu”
(Shoot the Boer), a song that ANC secretary-general Gwede Mantashe defends
as “part of the struggle history to liberate South Africa” has highlighted
the ongoing debate around the role of songs in the African liberation
struggle in South Africa.

Songs are a historical source of ­know-ledge. Written in indigenous
­languages and intended for a specific ­audience, they mean different things
to different people.

Almost a decade ago, I began?research?at Robben Island Museum on freedom
songs sung by former ­prisoners on the island.

Over time, I came to realise that these songs were not just a means of
communication, but that they are part of our historical archive, and of our
culture and heritage.

AfriForum, in bringing a case of hate speech against Malema, is doing what
apartheid tried to do: ban the history of a people.

Except this time they are not calling that history barbaric or uncivilised;
this time they’re calling it hate speech.

AfriForum’s action shows a total disrespect for the heritage and cultural
history of the African majority whose indigenous African languages are used
to sing liberation songs. There is a wealth of indigenous knowledge in
“Dubula iBhunu” and other songs that Malema — and most of us — continue to
sing.

The ANC government must not mince their words on this one.

They must tell AfriForum and those who support their action that these songs
are the archive of the people of South Africa – black and white.

We cannot allow Afri­Forum to burn the archive by banning this song through
the courts.

Those whose forebears enslaved and colonised the African and black majority
for three centuries and more cannot dictate to us, how we should write our
history of struggle and liberation.

And perhaps most importantly, the ANC celebrates its centenary in 2012.

It’s symbolic of a hundred-year ­commitment made by African people to
liberate themselves from the bondage of slavery, colonialism and apartheid.
In my study I argue that the ANC went through so many turning points in its
hundred years’ ­history.

These turning points were ­captured in the liberation songs sung by the
oppressed majority from January 8 1912 (when the ANC was founded in
Bloemfontein) and will continue to be sung ­until January 8 2012 when the
ANC ­returns to ­Mangaung in Bloemfontein to celebrate this historic
achievement in ­African ­history.

In his groundbreaking work, Blues People: Negro Music in White America in
1963, Amiri Baraka writes that “as I began to get into the history of the
music, I found that this was impossible without, at the same time, getting
deeper into the history of the people.

That it was the history of the people as text, as tale, as story, as
exposition, narrative or what have you, that the music was scored, the
actually expressed creative orchestration, reflection, of life, our words,
the libretto, to those actual, lived lives.

That the ­music was an orchestrated, vocalised, hummed, chanted, blown,
beaten, scatted, corollary confirmation of the history.

And that one could go from one to the other, actually the inside to the
outside, or reverse, and be talking about the same things.

That the music was explaining the history as the history was explaining the
music, and that both were expressions of and reflections of the people!”

“Dubula iBhunu” explains our history, and our history is reflected in our
liberation songs. The point is made by Ray Phiri of Stimela when he said:
“Our ­history is locked in our songs.”

The celebration of the ANC centenary year will be incomplete without the
song “Dubula iBhunu”.




» Ramoupi is a research specialist at the African ­Institute of South Africa
in Tshwane.

He writes in his personal capacity.

- City Press

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