Living the Heritage through Indigenous Music Competitions

Abstract

This research investigates the problem that lies in the perception of cultural dance music performance as a practice confined to homelands, resulting in disconnect for individuals in urban spaces, distancing them from their traditional cultures and practices. To address this issue, it is essential to recognize that traditional music should integrate into city life. While competitions are one approach, it is not the sole solution. Government initiatives should be developed to actively promote and encourage cultural dance performances in urban spaces, fostering a sense of cultural identity and unity among city dwellers. Two case studies show a form of resilience between the competitions that are held by the department of basic education in South African and the collaborative approach by three different cultures (Venda, Pedi and Tsonga) in the Northern part of South Africa called Limpopo province that uses cultural performances to reimagine urban spaces that are accommodative of indigenous performances. These two initiatives challenge the controversial policies of separate development that were put in place by the apartheid regime to divide South African black people by culture. The performances bring all black people together where they were expected to live as separate ethnic groups.

1. Introduction

This chapter delves into an exploration of the rich and diverse cultural tapestry of South Africa, with a particular focus on two case studies, one is the vibrant performance traditions found within the Limpopo province found in the northern parts of South Africa and the other is the schools’ indigenous music competitions run by the Department of Basic education. It seeks to shed light on an intriguing phenomenon: the limited presence and influence of cultural expressions typically associated with rural settings in the bustling urban landscapes. In essence, urban areas tend to mirror an urbanized way of life, often detached from the time-honored practices of indigenous communities. Consequently, urban spaces often do not provide a welcoming stage for indigenous musical performances, especially those that involve mass participation. Indigenous music performance competitions serve as a platform for culture and heritage to flourish in urban spaces. However, when culture and heritage are utilized in competitive contexts among diverse cultural identities solely for their survival, they risk losing their intrinsic cultural significance. The pursuit of victory at any cost in cultural performance competitions often shifts the focus away from preserving cultural essence, instead setting a precedent that one culture can be superior to another. These competitions may maintain fairness when conducted within the same cultural heritage group, but this equity diminishes when extended to various cultural heritage groups.

In response to this cultural disparity, a remarkable collaborative effort has emerged within the northern part of South African called the Limpopo province, uniting three distinct ethnic groups: the Venda, Pedi, and Tsonga [1]. They have taken it upon themselves to harness the power of cultural performances as a means to envision urban spaces that embrace and incorporate indigenous practices. This transformative endeavor not only serves to revive these cultural traditions but also acts as a catalyst for unity among the three ethnic groups, bridging the deep divides imposed by the apartheid regime’s policies of separate development [2]. The northern area of the South African country is the only province that has three official distinct ethnic groups that live together [2]. The apartheid regime employed culture, heritage, and language as tools to segregate individuals based on their ethnic identities, a strategy commonly known as “divide and conquer” [3, 4]. However, in contrast, these same three ethnic groups are now harnessing the power of culture and music performances to foster unity among themselves.

Central to this initiative is the ingenious repackaging of culture as a valuable commodity. By doing so, this movement invites urban dwellers to join in the celebration of their traditional heritage, fostering a sense of pride and connection to their roots. In essence, it is a bold step toward creating inclusive urban environments that honor and preserve the essence of South Africa’s indigenous cultures in realization of the so-called ‘rainbow nation’.

This study is rooted in extensive research, encompassing interviews, performance analyses, scrutiny of radio coverage recordings, archival materials, and a comprehensive review of existing literature. Over the years, the author has dedicated a substantial amount of time to actively engage with and observe various indigenous performances, with specific focus on two cases that happen on an annual bases of cultural dance competitions. Notably, the analysis encompasses the performances of diverse groups participating in the Radzambo Cultural Foundation’s traditional dance competition and the South African Schools Eisteddfod Choral Competitions (SASCE).

The Radzambo Cultural Foundation’s competition holds particular significance in this study. It stands as a testament to the enduring commitment to cultural diversity and unification through traditional performances within the underdeveloped urban landscape of the northern Limpopo region in South Africa. This competition, spanning more than three decades, has served as a vital platform for advocating cultural preservation and fostering unity through traditional expressions. The choral eisteddfod competitions organized by the Department of Basic Education for schools are renowned nationwide in South Africa [5, 6]. Numerous schools enthusiastically compete in a knockout format, with the final champions eventually uniting all the winning schools to determine the ultimate winner. Within their choral competitions, there exists a category known as “folklore music,” which is the main focus of this article. In this category, schools showcase cultural performances, complete with their traditional regalia.

The investigation into these two types of indigenous music performances and the meticulous analysis of the music therein have proven to be invaluable resources for this study. In regards to this first-hand engagement, the author has delved into existing literature, focusing on indigenous music performances and exploring the intricate relationship between music and urban live. Moreover, the author’s personal involvement as a former leader of an indigenous music performance group, actively participating in various university competitions during undergraduate years, has imbued this study with a deep-seated appreciation for the profound importance of researching cultural dance performance competitions as a potent means of heritage preservation [7]. Through this study, a conclusion is drawn that embarking on a journey to illuminate the multifaceted connections between indigenous performances, urban spaces, academia and the preservation of cultural heritage could be beneficial in people’s lives particularly in the area of curriculum development in South Africa.

2. The importance of indigenousness and indigenous art in urban settings

The inadequate integration of indigenous music and performances, rooted in rural traditions, into the urban fabric of cities across the global South where forced migration is prevalent, can be attributed to a multifaceted issue. It encompasses not only the scarcity of indigenous performances within these urban settings but also the urban planning processes themselves. These processes often prioritize the creation of spaces and venues that primarily cater to “culturally hegemonic” expressions, accessible mainly to the affluent, while inadvertently side-lining the rich tapestry of rural-indigenous art. This inherent mismatch not only impedes the progress and development of cities in the global South but also adversely impacts the quality of life for their most disadvantaged residents. It results in a missed opportunity to harness the cultural wealth of these regions and incorporate it into the urban landscape, which could contribute to a more vibrant and inclusive cultural scene. Moreover, it obstructs these cities from constructing new local and national identities that authentically represent the diverse social realities and cultural heritage of global South countries.

In essence, the failure to integrate indigenous performances into the urban milieu not only perpetuates socio-economic disparities but also stifles the creative and cultural potential that could enhance the vitality and identity of these rapidly evolving urban centres in the global South. As Molho et al. [8] stipulate that.

This widespread diffusion of global urban cultural policy models has left its mark on cities throughout the world. Although they generally espouse progressive values, they often drive forward the marketization and the commodification of local culture and lead to increased exclusion of already marginalized communities ([8], p. 116).

Since the dawn of the Industrial Revolution and the aftermath of World War II, the issue of excessive rural-to-urban migration has become a pervasive challenge in many developing nations [9, 10, 11], (Zabivora 2004, Yaohui 1999). This phenomenon can be largely attributed to historical factors such as colonization and the deliberate geographic segregation that characterized many communities and Africa being one of the affected continents regarding the imbalances within developing countries. These communities were often fragmented into small, isolated villages, set amidst expansive rural landscapes, and often distanced from the emerging, less prevalent urban centres. Consequently, African communities faced a pivotal choice: remain in these underdeveloped rural villages or venture into the slowly emerging urban territories. Persistent inequalities, racial disparities, and the dynamics of urban politics consistently hinder the achievement of social cohesion within city spaces. These factors tend to create divisions between the privileged and the disadvantaged, leading to the isolation of economically disadvantaged individuals from their more affluent counterparts [12].

Wolch et al. [13] introduce the term “environmental injustice” to shed light on how the allocation of urban space often exhibits racial and socio-economic biases, driven by factors such as affordability, race, culture, and income. These determinants, in turn, are frequently influenced by underlying demographic patterns [14]. In the realm of urban geography, this inequality manifests itself glaringly: those residing in suburban areas enjoy access to a plethora of amenities, including green spaces, parks, and venues for social interaction, all of which significantly contribute to their overall well-being. In stark contrast, individuals with fewer financial resources find themselves confined to often unhealthy and substandard living conditions [15].

The reality for many of these migrant individuals who arrive in urban centres is one of cramped living spaces, inadequate housing, and residence in townships or informal settlements constructed from natural materials. This precarious housing situation leaves them vulnerable to the dangers of fires and flooding. It is among these marginalized urban populations that a profound longing for their cultural music performances becomes palpable [16]. This desire becomes particularly pronounced when individuals struggle to secure employment, prompting them to turn to music and shebeens as sources of comfort and stress relief, often finding solace through dance and communal music gatherings [17]. The consequences of eradicating or limiting these cultural practices extend far beyond the realm of music and dance. They have a ripple effect on wider socio-economic conditions, as individuals who are unable to find solace in their cultural traditions may turn to vices as a substitute for escapism. This shift can exacerbate social and economic challenges, ultimately contributing to a cycle of hardship and limited opportunities for those who yearn to preserve their cultural heritage in urban settings.

3. Indigenousness in the city as part of a holistic modeling of urban wellness

Despite the well-documented therapeutic benefits of indigenous performances, these invaluable cultural expressions remain a scarce commodity within urban spaces. Morales-Hernández, Urrego-Mendoza Consuelo [18] compellingly argue that the role of music in nurturing well-being goes beyond its therapeutic aspects and extends to various social functions integral to the human experience [19, 20, 21]. Music serves as a means of esthetic enjoyment, entertainment, communication, symbolic representation, physical response, and reinforcement, all within the context of societal norms, social institutions, and religious rites ([22], p. 463). Tweed and Sutherland [22] emphasize the significance of cultural heritage in enhancing societal and community well-being, underscoring the importance of including indigenous music heritage in the holistic well-being of individuals. Indigenous music performances have the remarkable ability to forge a profound connection with individuals who, while growing up, may have been separated from their cultural musical heritage due to the necessity of migrating to urban areas in pursuit of employment opportunities. When these melodies resonate within the cityscape, they evoke memories of home and serve as a means to rekindle and affirm a sense of social identity among the listeners [17].

The quality of life in urban settings is intricately linked to a multitude of attributes that collectively contribute to overall human wellness [22, 23]. Recognizing the importance of these “nebulous” disciplines is crucial for those that are responsible for urban planning, particularly in the provision of socially enacted activities that contribute to the comprehensive health of individuals [24]. Too often, the well-being of urban dwellers is seen through the lens of the affluent and privileged, with theaters and auditoriums catering to their musical preferences, such as orchestral and popular music which are afforded affluent venues and spaces to flourish and to keep the people entertained. However, a conspicuous absence exists when it comes to venues for indigenous cultural music performances. Coplan says most people who come from indigenous rural homelands often go to places such as ‘taverns’, shebeens¹ to find comfort about their lives in the cities. He says that

The word ‘shebeen’ itself seems also to have originated in Cape Town in the early twentieth century among immigrant Irish members of the city’s police force. These constables named the illegal black drinking houses shebeens ([17], p. 113).

If we truly consider the well-being of all citizens as a pivotal indicator of well-planned cities, then indigenous music must be integrated into the comprehensive framework of urban wellness. Many impoverished black individuals find solace and therapeutic release in the urban centres they inhabit through indigenous music performances. This form of artistic expression is notably more accessible to a broader demographic when compared to other highly commercialized and exclusive performance genres, making it a source of solace and enjoyment for the majority. Indigenous music has the unique capacity to cater to both lower- and higher-class individuals within the urban milieu. Those with limited financial means can find healing and social well-being through cultural dance performances, thereby reinforcing their sense of cultural belonging and identity in the diverse cultural melting pot of the urban environment. This is particularly significant for the urban poor, who often constitute the majority of the urban population. The term “therapeutic indigenous music,” as elucidated by Aluede et al. [25], encompasses musical expressions that captivate listeners with resonant echoes of their cultural heritage. It encompasses an extensive repository of musical traditions, instruments, dance forms, and language, interwoven with indigenous beliefs and the surrounding traditional environment. ([25], p. 2). People residing in urban settings frequently turn to the music of their upbringing as a means of reconnecting with their cultural identity and enhancing their sense of belonging, leading to increased happiness and well-being. Ensuring their access to live indigenous performances within the urban context strengthens the bridge between rural and urban cultures, fostering greater national cohesion. Embracing one’s culture within multi socio-cultural spaces boosts one’s self-esteem and confidence while restoring dignity and identity particularly for those that have suffered a cultural marginalization [26].

Residing in urban areas introduces a set of health challenges, as the urban lifestyle often discourages physical activity like walking long distances and accessing organic food. Furthermore, the concrete jungles of cities offer limited opportunities to bask in the natural greenery that the natural world provides. Urban living tends to foster a culture of convenience, leading city dwellers toward processed foods due to time constraints that limit their ability to prepare wholesome meals. As daily life becomes increasingly hectic, living conditions may deteriorate, leaving many urban residents with little time or energy to prioritize their well-being [25, 26, 27, 28].

This shift toward unhealthy dietary habits has indirect repercussions on indigenous performance practices within urban spaces. Such performances demand substantial energy and typically span extended periods. The urban lifestyle’s impact on physical health can translate into reduced energy levels, making it challenging for individuals to engage in vibrant and sustained cultural expressions. These seemingly small acts of cultural activism, such as participating in indigenous music performances, conversing in one’s native language, or donning traditional attire, represent tangible commitments to preserving and celebrating cultural heritage and can contribute to a happy and healthy lifestyle [29].

Urban areas are often designed with a cultural hegemony in mind, especially in spaces housing government institutions and major economic centres. As a result, indigenous performances are relegated to the margins, finding refuge in the most informal of community spaces, such as bars and streets, where they serve as a form of entertainment and sometimes even a modest alternative to begging [30]. This stark contrast between the dominance of mainstream culture and the relegation of indigenous expressions underscores the need for a more inclusive and holistic approach to urban planning that values and integrates diverse cultural practices.

Indigenous music performances frequently unfold without due compensation, in stark contrast to other music genres that demand payment for entry into urban venues [31]. This discrepancy becomes even more glaring when we consider music venues with established reputations, such as legitimate clubs, concert halls, and esteemed cultural institutions like theaters and opera houses. These spaces inherently imply that the music presented is a product of intellectual property, warranting compensation. Indigenous performances should unquestionably receive the same respect and financial recognition, as this recognition can pave the way for sustainability, motivating musicians to continue preserving these rich musical traditions.

One of the key challenges is the inadequacy of existing urban venues for accommodating indigenous performances. These traditional expressions often involve mass participation in cultural dances and rituals, necessitating larger spaces. Urban planning should aim to design venues that embrace inclusivity, fostering a culture of communal performances in urban areas. While most indigenous performances in and around cities currently take place in townships and are organized by civil organizations like the Radzambo Cultural Foundation, these efforts often rely on school premises or stadiums due to their open and expansive nature.

In urban settings, where diverse populations coexist, issues of identity, language, and cultural compromise can lead to discomfort and tensions. Dominant cultures tend to exert their influence on cultural performances and language propagation in urban environments, impacting the representation of indigenous performances [32]. The prioritization of dominant cultures in urban spaces can overshadow the value of indigenous expressions in connecting people and preserving cultural heritage. Morales-Hernández and Urrego-Mendoza [18] stipulate that urban spaces must be accommodative of all who live in it because ‘it also fulfils other social functions such as aesthetic enjoyment, entertainment, communication, symbolic representation, physical response and reinforcement, in accordance with norms, social institutions and religious rites’ ([18], p. 463).

One of the most formidable challenges facing indigenous music performance, as noted by Harrison [33], is the specter of climate change or global warming. This issue looms large because the survival of indigenous musicians relies heavily on the use of natural materials for crafting their instruments and performance attire [14]. The use of these natural materials is not merely a practical necessity but is deeply embedded in the core identity of their performances and cultural attire. The musicians’ connection to the natural world through these materials is profound, and any disruption in the availability of these resources poses a significant threat to their artistry.

Harrison [33] aptly points out that the concept of “sustainability in the arts” may seem somewhat misplaced, as what is sustainable in the arts often pertains to intangible aspects of heritage. Unlike agriculture, where quantifiable proof of sustainability can be provided, defining sustainability in the arts, particularly in the context of endangered indigenous music practices, is more complex. The sustainability of urban spaces, on the other hand, hinges on their adaptability to change (Arhen, 2013). While Tweed and Sutherland [22] argue that urban sustainability planning frequently focuses on technical issues such as energy reduction and environmental pollution, Grant [34] emphasizes the need for a comprehensive review of the sustainability of the arts, especially endangered indigenous music practices.

This review should engage various stakeholders to create opportunities for indigenous performances to establish a defined presence in urban spaces. Such exposure can connect these performers with new networks and relationships, opening doors to fresh opportunities for them to continue pursuing their passion and preserving their cultural heritage in an ever-evolving urban landscape.

While in many ways heterogenous in experiences and cultural features, indigenous peoples share: a self-identification as indigenous, a continuation of historical pre-colonial or pre-settler societies, strong links to territories and natural resources, a distinctness of social, economic or political systems as well as language, culture and beliefs, a non-dominant position in broader society, and a resolve to sustain their ancestral environments and social systems ([33], p. 28).

The prevailing perspective on indigenous music often tends to be closely intertwined with culturally oriented practices, typically associated with individuals residing in rural communities. This perception holds true across various cultures, where such individuals are often deemed indigenous or aboriginal due to their deeply rooted connection with nature [35]. Their way of life, situated in spaces devoid of structured urban designs, regulated road grids, electrified houses, or comprehensive water and sanitation systems, reinforces the assumption that they rely on natural resources in their daily existence. This reliance extends to the use of natural materials in the creation of indigenous music, forming an inseparable bond between nature and people within these communities.

It becomes paramount, then, to underscore the intrinsic relationship between nature and these communities in the development of urban spaces. The term ‘indigenous’ often finds itself relegated to the ‘rural’ realm, partly because it carries associations with underdeveloped, culturally oriented, and less educated populations or those seemingly incongruent with the conventions of mainstream public performance culture [36]. Consequently, any urban planning aimed at accommodating indigenous performances should transcend the mere physical design of spaces and embrace a holistic perspective that considers the ecological coexistence of these communities alongside the natural world.

The incorporation of indigenous practices and performances into urban spaces can yield a plethora of benefits for cities, particularly within the realms of education and the broader creative arts industry. Indigenous performances serve as valuable educational tools, offering insights into the cultural heritage, traditions, and wisdom of these communities. Additionally, they contribute to the rich tapestry of the creative arts industry, infusing it with diverse and authentic expressions that can captivate audiences and enrich the cultural landscape of urban environments [37]. In essence, recognizing the profound connection between indigenous practices and nature, and integrating this understanding into urban live, not only promotes cultural preservation but also fosters a more inclusive and culturally vibrant urban fabric that celebrates the invaluable contributions of indigenous communities to the broader tapestry of city life [38].

4. Current efforts in the right direction and case study

UNESCO, as a prominent international body, holds a profound stake in the preservation of indigenous knowledge. Consequently, it wields considerable influence and can play a pivotal role in advocating for the inclusion of indigenous performances within urban areas on a global scale. This influence extends to a vast array of countries, particularly those that have entered into agreements with UNESCO, pledging their commitment to the promotion and safeguarding of cultural diversity [39, 40, 41]. These governments are bound by the conventions established by UNESCO, which serve as guiding principles for policy change. Non-compliance with these conventions could potentially result in the loss of their participation and membership status. In this regard, UNESCO possesses substantial political clout to enforce policies geared toward the preservation of endangered cultures, especially indigenous ones teetering on the brink of extinction.

Furthermore, UNESCO has made substantial commitments to the promotion of cultural diversity and the protection of intangible heritage, notably through the 2003 and 2005 conventions [39]. These endeavors underscore a mounting concern that the safeguarding of indigenous music cannot be left solely in the hands of village-based researchers, scholars, and practitioners. Instead, governments must rise to the challenge, utilizing urban and environmental planning as potent instruments to influence policy changes. The aim is to ensure that indigenous music finds its place not only within rural communities but also within the bustling heart of urban spaces as they breathe live in city spaces.

When governments actively encourage indigenous practices or establish dedicated urban spaces for these performances, they bring indigenous knowledge into closer proximity with academics and scholars [42]. This proximity fosters a conducive environment for scholarly inquiry, enabling the documentation and preservation of this invaluable knowledge. In essence, UNESCO’s involvement serves as a catalyst for bridging the gap between indigenous cultural heritage and the global academic community, indigenisation of urban spaces and reinforcing the imperative of preserving these rich traditions for future generations. Distinguished scholars, dedicated to integrating previously marginalized subjects into academia, must now explore novel methods for incorporating indigenous knowledge within institutions of higher learning [43, 44, 45].

Ethnomusicologists, anthropologists, and musicologists have been instrumental in advocating for the indigenous music performances of various local cultural communities, both on a global scale and within the vast academic context. However, it’s important to note that their engagement has often remained superficial, primarily relying on images and pictures of performers and instruments rather than in-depth, participatory involvement in classroom [46]. These scholarly endeavors have shed light on the rich tapestry of indigenous musical traditions, unraveling their intricacies and significance. However, a notable limitation lies in the fact that much of the scholarly discourse remains confined to academic circles, seldom finding its way into the public domain. Consequently, the very communities whose performances have been studied may be unaware of the profound contributions their music has made to the broader cultural landscape. The efforts of academics and researchers to bring indigenous music performances into urban spaces have facilitated a degree of participatory exchange with practitioners. However, this interaction primarily occurs at the institutional level, involving students and performers [42, 47, 48].

Ethnomusicology, as a discipline, stands as a beacon in this regard, steadfastly committed to bringing African music, among others, to the public sphere. Its efforts continue to take myriad forms, as evidenced in the works of scholars like Mapaya [49] and Grant [34]. In the early 1960s, a more refined term emerged, seeking to convey a less pejorative perception of ethnomusicology, and this term was coined as “world music” as described by Feld [50] to encourage researchers to promote indigenous music of other cultures. These dedicated researchers have been driven by a compelling desire to elevate their research beyond the confines of academia, aiming to promote and propagate indigenous music performances within university, urban spaces and the globe. This transformative endeavor has given rise to the emerging sub-discipline of applied ethnomusicology [31], where scholars and practitioners collaborate, forging vital connections that bridge the gap between research and practice [34].

However, it’s essential to recognize that researchers can only advocate for policy change through their findings and recommendations. The true impetus for change lies in the hands of others, particularly urban planners and ecologists. By extending invitations to indigenous performers into urban spaces, these practitioners gain access to a broader audience, sharing their invaluable knowledge with a wider spectrum of society [42]. It is incumbent upon urban planners and ecologists to not only take cognizance of this research but also to delve into its potential contributions to the design of urban areas that are inherently accommodating of indigenous music performances. In doing so, they can champion the cause of cultural diversity, fostering an environment where indigenous practitioners can thrive and where the vibrant tapestry of cultural expression enriches the urban fabric.

Researchers and scholars have emerged as pivotal catalysts in fostering a sense of value and recognition among indigenous practitioners—particularly those who have long languished in the shadow of cultural stereotypes within their rural communities. This phenomenon, often referred to as the ‘local appreciation syndrome,’ is characterized by a lack of local recognition and appreciation for indigenous practices, particularly heritage performances. The impact of this syndrome is profound and has been extensively documented in works by scholars such as Rose [51], Barleet et al. [52], Marsh [48], and Kennedy [47].

Indigenous music practitioners often find themselves trapped within the confines of this syndrome, where their contributions go unnoticed or undervalued within their own communities [31]. The perpetuation of this predicament underscores the pressing need for leadership figures particularly those who wield authority and influence over their subjects. Such leaders possess a unique capacity to champion appreciation for indigenous music performances, nurturing a cultural ethos where the embodiment of traditional music becomes second nature. In essence, these practitioners become vessels, carrying their rich heritage forward to the next generation.

However, the ‘ruralness’ associated with indigenous music has become a double-edged sword. The forces of globalization and urbanization have exerted a magnetic pull on young people, drawing them away from their rural roots and, consequently, their music. Unlike their predecessors, today’s youth often embark on their migration to urban centres at an earlier stage, often immediately following high school, as they pursue higher education opportunities in cities. Sadly, the cultural landscape at tertiary institutions frequently lacks robust representation of indigenous practices. This void contributes to the neglect of these vital cultural disciplines, as individuals prioritize studies that promise job security and an improved quality of life, inadvertently distancing themselves from their cultural heritage.

Academics, educational institutions, and various civil organizations possess the unique capacity to wield their knowledge and influence as potent tools for advocating policy change. Their pivotal role transcends mere social status, extending to their profound contributions to knowledge production and research. These entities hold a position of trust and authority within society, thanks to their unwavering commitment to qualitative and quantitative research. This research, in turn, serves as a cornerstone upon which governments base their informed decisions and policy. As Carr and Servon [27] astutely observe, “If local policymakers and planners care about preserving the diverse urban fabric of their neighborhoods, their economic development plans must also maintain vernacular culture” ([27], p. 29). In essence, these academic and institutional pillars contribute not only to the enrichment of knowledge but also to the preservation of cultural diversity within urban spaces. Furthermore, they play a pivotal role in providing a sense of equilibrium and stability to society, as underscored by Quinn [53].

These individuals hold pivotal positions of influence within the realm of urban planning policy, particularly academics with a profound interest in preserving indigenous knowledge. They emerge as key catalysts propelling the agency to advocate for policy change in this domain. This is underscored by their indispensable role in spearheading research expeditions to unearth and document indigenous music knowledge—a process that often necessitates traversing extensive distances to engage with practitioners residing in rural enclaves. These research endeavors are not only financially demanding but also entail a myriad of logistical challenges [42].

However, the academics’ vested interest in championing the cause of indigenous knowledge preservation fuels their unwavering commitment to overcoming these impediments. Their dedication to conducting interviews and research, despite the formidable obstacles, underscores the deep-seated importance they attribute to both promoting and safeguarding indigenous knowledge for educational purposes. Additionally, these academics recognize the manifold advantages of fostering indigenous music within urban landscapes. Chief among these benefits is the enhanced proximity to practitioners, which facilitates their own research efforts.

Institutions of higher learning stand as prominent beneficiaries of indigenous knowledge. These venerable institutions possess rich repositories in the form of libraries, archives, and museum spaces that house a wealth of indigenous music heritage, manifested in various mediums such as artifacts, audio recordings, videos, and visual representations, including sheet music transcriptions. Consequently, these institutions are uniquely positioned to marshal their collective resources and knowledge production capacities, galvanizing advocacy efforts aimed at reshaping urban planning policies.

The collaborative advocacy undertaken by higher learning institutions carries manifold advantages. It not only serves to promote and elevate the profile of indigenous music within urban spaces but also significantly amplifies access to this invaluable cultural treasure trove. Moreover, this concerted effort stands to benefit the institutions’ students, who often grapple with limited access to indigenous knowledge systems due to financial constraints associated with conducting research expeditions in remote rural areas. By fostering the presence of indigenous musicians and their performances in urban settings, access to this profound cultural heritage is democratized, enhancing the academic pursuits and research opportunities of future scholars.

In the context of cultural diversity within urban settings, these influential entities are instrumental in safeguarding indigenous heritage, which can otherwise be eroded or overshadowed. Their collective ability to empower individuals and effect transformative change, as exemplified by academics, educational institutions, and civic organizations, assumes paramount significance in the ongoing discourse surrounding the promotion of indigenous performances within urban landscapes. To create an inclusive and harmonious urban environment that can embrace a wide array of social experiences, individuals must heed Aboutorabi’s concept of structuring physical spaces to align with cultural practices [54]. Non-profit civil society organizations, should utilize urban physical spaces as platforms to facilitate cultural practice experiences, particularly in the realm of indigenous music performances.

The Radzambo Cultural Foundation, a civil society organization located in the northern region of South Africa, has emerged as a cultural vanguard with a remarkable ability to influence policy changes within the realms of creative arts and urban planning. Nestled within the culturally rich landscape of the Limpopo province, this organization boasts a storied history spanning over three decades. Its primary mission revolves around the orchestration of traditional dance competitions, strategically situated within urban spaces across the Limpopo region.

The Radzambo Cultural Foundation has not only orchestrated these events but has also forged impactful partnerships, notably with the esteemed University of Venda. This collaboration extends to the meticulous collection of data encompassing all traditional performances featured in these competitions. This extensive, data-driven approach underscores the organization’s commitment to evidence-based advocacy, making a compelling case for the preservation and promotion of indigenous performing arts.

Moreover, the Radzambo Cultural Foundation synergizes its efforts with three local radio stations in the Limpopo region—Phalaphala FM, Munghana Lonene FM, and Thobela FM. This collaborative nexus harnesses the profound potential of culture and music performance as unifying forces. As Rodríguez-Sánchezand and Cabedo-Mas [55] aptly emphasizes, music possesses the inherent power to bridge divides and reconnect disparate communities. Indigenous music, in particular, has a remarkable propensity to foster mass participation among community members.

By championing the promotion of indigenous music in urban areas, the Radzambo Cultural Foundation not only underscores the intrinsic value of cultural identity within cities but also endeavors to rekindle and reimagine new identities, especially among the youth and children born in urban spaces where such cultural performances have been conspicuously absent. The innovative model endorsed by the Limpopo province serves as a compelling testament to the feasibility of revitalizing indigenous music performances through the dynamic platform of competitions.

The Department of Basic Education assumes a pivotal role in championing the promotion and preservation of indigenous music performances within urban contexts. A notable illustration of this commitment is the spirited competition that unfolds among various schools, each vying for the prestigious title of the finest folklore performance at the culminating event hosted in the illustrious Rhema Bible Church, situated in the bustling metropolis of Johannesburg. This indigenous performance competition serves as an integral component of the broader choral eisteddfod championship competitions [5, 6, 56].

The exuberant atmosphere of this event offers a poignant reflection of the profound cultural bonds shared by participants and spectators alike. It is a poignant spectacle where fervent ululations and jubilant celebrations bear testimony to the deep-seated connections individuals maintain with their cultural heritages within the bustling confines of the city. The very presence of this dedicated performance space within the urban landscape underscores a profound yearning among people to forge and nurture links with their cultural roots, even when residing in urban environments distant from their ancestral homelands. This yearning for cultural connection serves as a testament to the enduring significance of culture in individuals’ lives, anchoring their identities and engendering a profound sense of belonging, even amid the bustling urban milieu where traditions may appear distant but remain vibrantly alive through these spirited performances.

5. Conclusion

In conclusion, integrating indigenous music performances into the urban landscape and incorporating their events as a vital part of city life can establish a robust platform for these traditions. Such inclusion is poised to not only amplify but also broaden their influence and resilience, ensuring their continued vitality and relevance. It is imperative that indigenous musical performances receive the same level of recognition and support in terms of dedicated spaces within the urban fabric as other music genres. Just as theaters, arenas, auditoriums, and concert halls play an integral role in fostering social cohesion within urban spaces, providing appropriate venues for indigenous music will contribute to a richer and more inclusive cultural tapestry within our cities. Incorporating indigenous music performances into the urban landscape not only enriches the cultural policy framework but also serves as a catalyst for meaningful social change. This inclusion fosters an environment that promotes cultural diversity and overall well-being for all members of society. To promote the preservation of culture and heritage, it is imperative for the government to proactively foster an environment within urban spaces that encourages increased participation in indigenous music activities. This can be achieved by creating more opportunities for these activities to flourish among urban dwellers.