Hola Batsha

Cdes i think Bernard is correct in saying these songs form part of our
archives and history, he also make another comment that
these songs are intended for specific audiance , they mean different things
to different people.
This song we are talking about here was intended for a specific thing then,
which was war towards the oppresers , do we still want
to wage war towards white (Boer) in this coutry, I dont think so.

December 1993 MK was banned, some revolutionary songs were burned too from
singing in public because it was recognised that
they are insultive because they were made for war not for nice times, even
now many cdes when they sing Hamba kahle Mkhonto they skip the part that
says 'sizowabulala lamabhunu' and say we are going to transform them.

Im of the view that the ANC as proud as we are about our history we should
apologise to the public and the courts that such divisive songs wont be sang
in public, because it is not in the interest of the ANC as the ruling party
to be seen as wanting to bully every one who doesn't see things the way we
do, we should be accomodative of othyer views and respect the way other
people think about us because may be we can learn something from those
critisism.
The song must not be sang publicly is wrong, we rightfully defended uMshini
wam because it had nothing that says kill in the song ,its a soldier
embrasing his machine gun.

Lets debate cdes
On Fri, Mar 4, 2011 at 10:05 AM, Bernard Makgaka <[email protected]> wrote:

>
>
> 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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