{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/8140"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/8140","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"An emergent model of the teaching of iingoma zamagqirha based on three case studies in the Western Cape, South Africa","abstract":"lingoma zamagqirha is a Xhosa musical art often taught at workshops to introduce learners to the indigenous knowledge systems of the amaXhosa of South Africa. It is also a musical art which is performed in both sacred and secular environments. As such iingoma zamagqirha could be suitable for classroom teaching in South African schools and the oral methods embedded in the teaching of indigenous knowledge systems could provide guidelines to teachers who are required by the South African government to incorporate indigenous musical practices in their everyday teaching. This study's two primary objectives are therefore objective (a) is to analyse the inherent teaching method displayed by three performing artists and teachers of emergent teaching method through the fieldwork study. The secondary objective is to nurture a debate on the conservation of indigenous knowledge system and worldview as the educational discourse still tends to focus on Western music as the dominant culture.","abstract_html":"lingoma zamagqirha is a Xhosa musical art often taught at workshops to introduce learners to the indigenous knowledge systems of the amaXhosa of South Africa. It is also a musical art which is performed in both sacred and secular environments. As such iingoma zamagqirha could be suitable for classroom teaching in South African schools and the oral methods embedded in the teaching of indigenous knowledge systems could provide guidelines to teachers who are required by the South African government to incorporate indigenous musical practices in their everyday teaching. This study's two primary objectives are therefore objective (a) is to analyse the inherent teaching method displayed by three performing artists and teachers of emergent teaching method through the fieldwork study. The secondary objective is to nurture a debate on the conservation of indigenous knowledge system and worldview as the educational discourse still tends to focus on Western music as the dominant culture.","abstract_has_math":false,"creators":["Mnukwana, Ncebakazi Fezeka"],"institution":"College of Music","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Herbst, Anri"],"committee_chairs":[],"committee_members":[],"year":2006,"date_issued":"2006","date_published":"2006","updated_at":"2026-07-22T22:23:14Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/8140","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Herbst, Anri"]},{"key":"dc:creator","label":"Author","values":["Mnukwana, Ncebakazi Fezeka"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2014-10-06T11:30:39Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2014-10-06T11:30:39Z"]},{"key":"dc:date.issued","label":"Date","values":["2006"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["College of Music"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cape Town"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["MMus"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/8140"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Includes bibliographical references (leaves 117-126)."]},{"key":"dc:description.abstract","label":"Abstract","values":["lingoma zamagqirha is a Xhosa musical art often taught at workshops to introduce learners to the indigenous knowledge systems of the amaXhosa of South Africa. It is also a musical art which is performed in both sacred and secular environments. As such iingoma zamagqirha could be suitable for classroom teaching in South African schools and the oral methods embedded in the teaching of indigenous knowledge systems could provide guidelines to teachers who are required by the South African government to incorporate indigenous musical practices in their everyday teaching. This study's two primary objectives are therefore objective (a) is to analyse the inherent teaching method displayed by three performing artists and teachers of emergent teaching method through the fieldwork study. The secondary objective is to nurture a debate on the conservation of indigenous knowledge system and worldview as the educational discourse still tends to focus on Western music as the dominant culture."]},{"key":"dc:title","label":"Title","values":["An emergent model of the teaching of iingoma zamagqirha based on three case studies in the Western Cape, South Africa"]}]}],"canonical_facts":{"dc:contributor.advisor":["Herbst, Anri"],"dc:creator":["Mnukwana, Ncebakazi Fezeka"],"dc:date.accessioned":["2014-10-06T11:30:39Z"],"dc:date.available":["2014-10-06T11:30:39Z"],"dc:date.issued":["2006"],"dc:description":["Includes bibliographical references (leaves 117-126)."],"dc:description.abstract":["lingoma zamagqirha is a Xhosa musical art often taught at workshops to introduce learners to the indigenous knowledge systems of the amaXhosa of South Africa. It is also a musical art which is performed in both sacred and secular environments. As such iingoma zamagqirha could be suitable for classroom teaching in South African schools and the oral methods embedded in the teaching of indigenous knowledge systems could provide guidelines to teachers who are required by the South African government to incorporate indigenous musical practices in their everyday teaching. This study's two primary objectives are therefore objective (a) is to analyse the inherent teaching method displayed by three performing artists and teachers of emergent teaching method through the fieldwork study. 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