Zambezia (1996), XXIII (ii).MUSIC AND RITUAL IN SANDILE NDLOVU'S FAITHMISSIONYOLISA NOMPULAMusic Department, University of TranskeiAbstractThis article analyses the musical forms and structure of songs andaccompanying dance in a healing church in Natal Province of South Africa.The article traces both Western and Nguni influences in such ritualperformance. There are also innovations by leaders, sometimes coming fromrevelations in dreams. The article also considers the function of music in therituals, relating it to the enhanced experiences and perceptions of devotees.The article concludes that there is a marked continuity with traditionalreligious practice.INTRODUCTIONIN THIS ARTICLE I have used the term 'Nguni' and 'African' in a fairly flexiblemanner, for there are layers of meaning attached to these words. In thisarticle the words are used to describe 'traditional' ways as they have beenexplained to me by the group where I conducted my research, and frommy own Nguni experience. I am not presuming to speak for all groups andindividuals who identify themselves by these terms.The article is based on the fieldwork conducted between January 1990and September 1991. The research was on a religious group under SandileNdlovu's Faith Mission (SNFM). Sandile Ndlovu is a faith healer and prophetoften called Umthandazi, a Zulu/Xhosa word meaning 'the one who praysfor others'. Sandile's services are conducted at his home kwaNodalanalocation which is near Ezingolweni, close to Port Shepstone in Natal. I wasinitially introduced to this group by a friend.I was particularly interested in the incorporation into the rituals ofthis church of elements from traditional practices and music of diviners.SNFM is one of the independent churches characterised by prophecyworship and healing that emerged in Southern Africa as an indigenousresponse to shortcomings in the manner in which Christianity wasintroduced to, and spread amongst, Africans by some of the EuropeanChristian missionaries. The leader of SNFM, Sandile Ndlovu, has aboutfour prophetesses who assist in his rituals of prophecy, worship andhealing, for example during the blessing of the water. Services involvingprophecy, worship and healing are held daily except on Thursdays andSundays. The prophecy and healing services are held in one of the huts inSandile's homestead. There are two healing services a day which involve121122 MUSIC AND RITUAL IN SANDILE NDLOVU'S FAITH MISSIONmusic and dance by prophets and Sandile's followers. The first service isfrom five in the morning to about 11:30 and the second service is from 12noon to about four in the afternoon. During my fieldwork, I visited thisreligious group almost every weekend and attended their services. Toensure the success of the project, I had strictly to adhere to all theregulations and customs of the group. For example, women wearingtrousers, having more than one boyfriend, falling in love with a marriedperson are not allowed to attend the prophecy and healing service.Members of the congregation first cleanse themselves by confessing toany of the available prophets before they are allowed to attend the service.In the service, following Nguni practice, the men occupy the righthand side of the hut and the women occupy the left. Sandile stands next tothe door on the right hand side of the hut. The water containers whichpeople have brought for blessing are placed at the centre of the hutaround the hearth which, according to traditional diviners, is viewed as avenerated place for ancestors (see also Berglund, 1976,102). According tothe prophets this kind of arrangement allows for the worship to carry itsfull meaning and dignity.In this article, I focus on the analysis of musical form and structure inthe songs of the ritual of the SNFM, and the role of the music during theblessing of the water, which seems to be the most elaborate ritual event ofthe whole service. During this event the prophetesses occupy the iziko(hearth) which is surrounded by the water containers. The Sunday Schoolchildren and devotees occupy the front rows around the water containers.ANALYSIS OF THE MUSICIn Sandile's Faith Mission no hymn books are used. Most songs areintroduced by, and learnt from, the song leader, Mrs S. Madlala. There is abelief that some of the songs are not composed in the ordinary sense, butthat they are received from the non-human world. They are thought tohave a supernatural origin, being received through dreams or visions, asSchipkonsky (1977, 422) notes about some of the independent churches.This belief can also be traced to Zulu tradition. In 1991,1 interviewed MsS., the isangoma sabalozi of Natal, who felt that her name must not bementioned. According to her, 'Some of the songs and dances of divinationare learnt from dreams and visions.' Ms S. Madlala, the song leader,presented a similar view in an interview in May 1991. She said that some ofthe songs they sing are brought to her through visions or in a dreamknown as isibonakaliso. Thereafter, she introduces these songs into theservice and they are learnt orally. Devotees and members of thecongregation quickly learn the melody, and then sing it in parts. Theleader and congregation are always at liberty to improvise in performance.Y. NOMPULA 123Musical structureThe whole performance in a service depends entirely on the song leader.All the songs are basically strophic, and each strophe is repeated withvariations, according to the abilities of the song leader. In the strophe,there are two complementary phrases, that is, solo with congregationalresponse. These phrases may overlap Š a striking feature of Ngunitraditional songs (see transcription examples, numbers 3,4 and 5). Rycroft(1967, 101) describes this phenomenon as the 'principle of non-simultaneous entry'. The song leader's phrase re-enters on the last crochetof the responsorial phrase in bar 1. Variation may occur on the songleader's part, depending on the creativity of the leader. The responsorialphrase in this section maintains a constant ostinato. The end of the songis signalled by the song leader or a prophet raising his or her hand.I should point out that although the call part of the song leader isusually performed as a solo part, in SNFM, this call is often a group call,with members of the congregation joining in her singing either in octavesor parts. Thus, the call and response is not always strictly identified as asolo versus group performance.HarmonySome of the songs of the well-known compositions have been notified. Forexample, Wakrazulwa (example 4) and Ziyenzekizimanga (example 1), canbe sung in various tempos. They are sometimes sung slowly, withoutclapping, although they are usually sung faster and with hand-clapping.The entire song texture is homophonic, with the basic chord progressionbeing HV-V-I, a common feature of Western Christian hymns.I should point out here that the harmonies I have transcribed arethose which I have heard, having been trained in a Western musical idiom.Such a training has also had an impact upon the harmonies produced bythe SNFM Gospel group, with which I always emphasised Western typechords during our rehearsals. Furthermore, since many of the members ofSNFM have belonged to other European controlled churches with Europeanhymnody, they bring to the service a background of Western musicalinfluence. Thus, in my transcriptions I have reduced the musical texture tofour parts, even though at times there may have seemed to be more parts.The singers themselves tend to harmonise a melody in predominantlythirds, fourths, and octaves Š harmonies which are also common toNguni bow music (Rycroft, 1980, 197-202). Such harmonies are believedby Nguni traditionalists to be deeply religious, and result in the invocationof the spirit. These harmonised songs, sung in a slow tempo, are alwaysperformed as an introduction to the time of 'free prayer', as well as duringthe act of 'screening' the congregation, where Sandile, the prophet, checksif there are any remaining sinners using his screening instrument.124MUSIC AND RITUAL IN SANDILE NDLOVU'S FAITH MISSIONThere is a special introductory song called 'Hallelujah', which isperformed before the blessing of the water (see example 2). This is theonly song sung at this time. It is always sung at a slow tempo, withprominent harmonisation, and is believed to invoke the Holy Spirit orumoya. Participants' eyes are closed as they sing the 'Hallelujah' and theyhold their hands above their heads.Musical Example 1"ZIYENZEK' IZIMANGA"clap*clapsz'-y&-nze-k'i ma-ngaz'- ye-nzenk'i ma- ngaXl J iTye- nze-ki zi-man'ku - yo-le vangel'A 171 AUlLJLJLJ Uz' - ye-nze-k'i ma-ngaz'- ye-nze-k'i ma-nga4-9-4ze - nze-ki- zi mang'VTLJ CTku - yo-le-va-ngelit/LJ C_/ LfPitchPitch fluctuates in performance, through the course of a song, usually withan overall rise in pitch content by about a semi-tone. Whilst this is not aconscious rise, it is fairly characteristic of Nguni traditional musicalperformance. The concept of key is not prevalent in Nguni music.Y. NOMPULA125Musical Example 2"HALLELUJAH"Ofp1unoA-^-JŠl.Ha2.Nof^"-/anoA73lieno1 1 1JHaNolu- ya-(bo)no noHeno=r=-JŠ\-luNo\THa -NoJflienoJnoJŠJ -RythmThe only percussion used in song performance is hand-clapping, beatingon Bibles and small pads. Most songs start at a moderate tempo, withoutany rhythmic accompaniment. When the clapping does begin, it usuallycreates a rhythmic pattern with two claps per beat, with a stress on thefirst clap. Similarly, in the music of diviners, each whole beat is marked bya single drum beat. Whilst this is also very common in Nguni traditionalmusic, the emphasis of the first clap in SNFM's music to coincide with thefirst part of the beat, suggests one form of link between the music of SNFMand the diviners. The rhythm of the dance movements is performed byalternately lifting the feet up and releasing them down. The movement ofeach foot coincides with the beat of the song. One foot comes down on thefirst accented clap, while the other moves up.DanceThe rhythmic pattern in the music performance invites the body to dance.Dancing is known as ukugida in Sandile's church. Doke et al (1990) define-gida as 'dance for pastime or enjoyment; generally of women and children,dance at a wedding'. The same dictionary states that '-gida applies more tothe upper limbs as opposed to -sina which applies to vigorous dancingwith foot movement'. The participants of Sandile Ndlovu's service mostlydance in place. The only exception to this is the Sunday School children's126MUSIC AND RITUAL IN SANDILE NDLOVU'S FAITH MISSIONMusical Example 3"UNGIKHUMBULE"Nko~ si ya- miu - nci - khua - ngi - khuA A Ambul'mbul1iNko - siNko-si ya-miuNko- si ya-miyamiu - ngi - khuA A Ambu - leNko - siyamiu - ngi khumbul1Nko - si ya - miyamiA-u - ngi - khumbul'ANko - siA Ar T rV7 Ic V Ior prophets' line dance performed when exorcising evil before the blessingof the water. So the dance in SNFM can be construed as being 'movementsof the upper limbs'. This may point to the reason why the term ukugidarather than ukusina is used to designate dance or movement in thiscontext.The movements of ukugida in Sandile's ritual performance are notregimented or rehearsed as they are in one of the other large independentchurch movements, that of ibandla lamaNazaretha, who are the followersY. NOMPULA127Musical Example 4"WAKRAZULWA"l.Wa-kra - zu-lwammWa-kra- zu-lwal.Wa -kra - zu4.A- ndi - na-ntolwa - ngeA - ndi - na- ntonxa - ya -mm4.A -ndi - nasa - mile -A AndiC|J:LJ LT CJ"'CTLTC/'C-/ CJWa-kra- zu- iwaS5Ela -pha - ka -A- ndi- na-ntode Wakra - zu Iwaze - kaJ A Anye - Nkoa- ndi-na-ntoClapfuuuXTLTLTU U Uu uof Shembe. They rehearse their dances on special Sundays, and havespecial hymns which accompany the dance (B. Mthethwa, personalcommunication). There does, however, seem to be some consensus withinSandile's church, as to the appropriate kinds of movement for ukugida.Within this consensus, there is some freedom to move in dance as anindividual member wishes.Thus, performers may give physical expression through simultaneousactions in the form of steps or gestures. Sometimes this dance is performedwith the eyes closed. All dancing is accompanied by cyclical and repetitiousmusic, the dance becoming a physical interpretation of the music itself. Itis believed that through this repetition in dance a new level of128MUSIC AND RITUAL IN SANOItl NDLOVU'S FAITH MISSIONcommunication between the group and God is attained. In this regard,Mthethwa (1984, 20) says that in SoXrtH African independent churches'repetition is the essence in dance and to the dancer'. Full participation inthe dance may take a human mind out of its immediate, conscious state'into a new level of perception and meaning' (Mthethwa, 1984, 20).Musical Example 5"ULUTHANDO"luiluye7 AluyethamaŁAo - lu-tha- ndo nama - ye ma - ye mandoyethamalu - yalu - yananalulundoyenamathamaomalu - tha - ndoye ma - yendoyenamanamaomaY. NOMPULA 129Talking about dance of the diviners, Berglund (1976, 151) says that ifpeople other than the diviners perform the dance, it (the dancing) willincur mental and physical ailments. This may have a parallel in prophets'dance at SNFM, which may not be performed by anyone other than theprophets.TextSome of the song texts are English hymn texts translated into Zulu orXhosa. For example Wakmzulwa ngenxa yami is a Xhosa translation fromthe English hymn text 'Rock of Ages' by Johann Cruger (b. 1598, d. 1662),which draws on the Biblical reference of Matthew 27, 33-38. The tuneWakmzulwa is not the same as that of the English 'Rock of Ages'. A secondhymn Ungikhumbule, is an extract from the Biblical reference in Luke 23,42.Text TranslationUngikhumbule Nkosi yami Remember me, my LordA third hymn text, entitled Uluthando (musical example 5) is a fragmentdrawn from a Presbyterian hymn by Hugh Wilson (b. 1766, d. 1824 Š MrsDlala, personal communication). The song simply repeats the worduluthando, which means 'love'. The song leader may change the phrase toa series of vocables, such as maye-maye. It is worth mentioning here thatthe maye-maye is a commonly occurring non-lexical series of syllables intraditional Zulu music. This shift from words to vocables happens at themoments when the impact of the musical sound becomes rituallymeaningful to the participants. In this regard, Rycroft (1958, 225) argues:there are . . . considerable grounds for suspecting that in earlier timesconsiderable emotional content may have been vested in these particularsounds (i.e. vocables), especially in the context of religious or ritualfunction.The exampleNgiphuzis'amanzi (musical example 6) also draws on theBiblical reference John 4, 7, 'Jesus saith unto her: Give me water to drink.'The text is as follows:Text TranslationSection A: Call PhraseWath 'u Jesu: Jesus said:Ngiphuzis 'amanzi Give me water to drinkResponse PhraseAwek'emthonjeni There is no water130MUSIC AND RITUAL IN SANDILE NDLOVU'S FAITH MISSIONSection B: Call PhraseAwek'awekhoNo water, no waterResponse PhraseAwek 'emthonjeniThere is no waterMusical Example 6"NGIPHUZIS' AMANZrCallResponseiCallResponseWath'-u Je-su ngi-phu-zi s'a- ma nzi a - wek'-em tho - njeniwek'we - kho4 j_wek1J iwek' - a - we - kho77we - kho a - wek' - em - tho - njeniTHE ROLE OF MUSIC IN SANDILE NDLOVU'S FAITH MISSIONWhen the purification of the congregation is completed, the music gainsmomentum. The rhythm and singing proceed more quickly driven by theintensity of hand-clapping. This rhythmic music is believed to elevateprophets and devotees to a new spiritual level. They move and dance tothis music inside the church. The prophetesses remarked that they do notpay much attention to the singing at this stage. Instead, they experiencean uplifting by the music to a 'different world' while in this world: in thisdifferent world, they see members of the congregation who are unfit forworship as having a dark shade, 'banethunzi elimnyama'. These people arethen given the opportunity to leave the service and cleanse themselves byY. NOMPULA 131confessing to the prophets. Individual cleansing by confession seems tobe vital to the smooth flowing of the healing and blessing of the water.This whole process is to maintain the desired state of mind for boththe prophets and the Sunday School children, while they await the spiritwhich enables the prophets to bless the water and both groups to exorciseevil. The prophets often demand that the congregation create a 'hot'rhythmic pattern through their hand-clapping. This was confirmed by MrSithole in his testimony when he said, 'What I noticed is that in the service,clapping and singing involving the mind is of the essence.'In an interview I had with Sandile Ndlovu, he said 'umculo uphembaumlild1, meaning 'the music ignites the fire'. He added that it is a flash oflightning that gives 'heat' to the music in the service. The prophets 'read'the reflections in the water provided by the sufferers, through the aid ofthe Holy Spirit, which comes when the 'fire' has been 'ignited' and thepeople's minds and hearts are ready.In interviewing the prophets about the music, why it is so enjoyed andprovides such sustenance, I discovered that though the prophets do notseem to dance when they bless the water, their minds and inner-mostfeelings are involved in the music and 'dance'. Their interpretation of themusic is expressed in their minds. When everybody is involved in theritual process, singing and dancing with a common spiritual goal, a spiritualunity in the service is achieved.Through participation by clapping, singing and dancing, one's healthcan be restored. Mrs E. Cele confirmed this when she said in the service, 'Ifyou sing and clap, you'll get your reply. If you keep quiet, your problemswill not be solved.'Once the prophets have acquired the desired state of mind throughthe repetition of music and dance, the lead prophet bows down to blessthe water followed by all the other prophets. According to the prophets,during this process diagnosis of the sick and prescriptions are reflected intheir water.From the musical performance, one can determine the stage of theritual performance in Sandile's mission. Specific songs, types of song, orspecific ways of singing, mark the worshipper's performance. For example,during the blessing of the water, rhythm is the most predominant musicalfeature. Sometimes one can hardly discern the melodic line and text of thesong. If the rhythm and clapping slow down too much, the song may bechanged for another more appropriate one.CONCLUSIONSNFM shows a marked continuity with indigenous religious practices. Theconceptualisation of this church is significant in Nguni philosophy. For132 MUSIC AND RITUAL IN SANDILE NDLOVU'S FAITH MISSIONexample, it has introduced rituals which strongly correspond to traditionalritual ways.In the ritual itself, I discovered that it is highly syncretic, incorporatingelements of Western Christian practice as well as some traditional Ngunipractices. In addition, Sandile has included his own innovations. Althoughin their music Western times and harmonies are important, there is plentyof scope for improvisation and traditional calKand-response format. Themusic is repetitious and cyclical, and the rhythmic patterns of the musicinvite the body to dance in a manner consistent with Nguni traditions. Ithas been shown that in both the practices of divination and those ofSandile's mission, dance is important. It takes the performer to anotherworld Š the world of the spirit.The process of music-making defines the success of the ritualperformance. It is therefore the act of worshipping through the vehicle ofone's music and his or her cultural ways that links an individual to God.Dwane (1989, 32) remarks that African culture is as valuable as any otherhuman culture and cannot be rejected. He writes:God, in Christ tells us that we need not be ashamed of ourselves, ourblackness or models of thinking, our norms and values and our traditionalculture because we are the work of His hands.ReferencesBERGLUND, A. (1976) Zulu Thought-Patterns and Symbolism (Cape Town,David Philip).BlKO, S. (1974) 'Quest for a true humanity' in B. Moore (ed.), The Challengeof Black Theology in South Africa (London, Hurst).BLACKING, J. (1969) 'The value of music in human experience', Yearbook ofthe International Folk Music Council, I, 33-71.DOKE, CM. etal (1990) English-Zulu, Zulu-English Dictionary (Johannesburg,University of Witwatersrand Press).DWANE, S. (1989) Issues in South African Theological Debate (Johannesburg,Stottaville Publishers).MTHETHWA, B. N. (1984) 'Music and Ritual with Reference to Some African-Guided Christian Churches in Africa' (Belfast, Masters thesis, QueensUniversity).RYCROFT, D. (1980) 'Nguni music', in S. Sadie (ed.), The New Grove Dictionaryof Music and Musicians (London, Macmillan), 13,197-202.