Enhancing the Description and Analysis of Umaskandi Performance: a tool for musicology

Abstract

This study examines the limitations of existing descriptive and analytical frameworks in understanding umaskandi performance, an indigenous Isizulu musical tradition. Guided by Decolonial Theory, Indigenous Knowledge Systems (IKS), and African musicology, the study critiques how Western analytical tools often fail to capture the cultural, linguistic, and philosophical dimensions that define umaskandi. Using a qualitative approach, the research draws on semi‑structured interviews with experienced omaskandi practitioners and umaskandi producers, supported by document analysis. The investigation focuses on three key performance concepts: ukusetha (tuning), izihlabo/ihlabo/intela (introductory passages), and izibongo zomaskandi (umaskandi praises recitations). Findings reveal that ukusetha functions as a relational, emic process through which performers align their instruments to ushuni, the indigenous sonic system that anchors umaskandi. Izihlabo/ihlabo/intela (introductory passages), emerge as diagnostic, identity‑bearing cues that signal musical intention and orient both performer and ensemble at the beginning of a performance. Meanwhile, izibongo zomaskandi are shown to mark expressive, spiritual, and social climaxes within the performance trajectory, embodying heightened emotional and cultural meaning. Overall, the study demonstrates the inadequacy of Western analytical models for interpreting umaskandi and argues for culturally grounded, African‑centred frameworks that better reflect its artistic epistimology, support curriculum transformation, and enrich African music scholarship.