- Indigenous music is sidelined outside Heritage Month.
- Colonial mentality continues to devalue local genres.
- Social media offers a platform for reclaiming visibility and cultural pride.
Every September, South Africa celebrates Heritage Month. During this time, indigenous music briefly gets attention. The Zulus’ maskandi, Bapedi’s tsa manyalo, Tsonga rhythms, and other traditional genres appear on radio, television, and in newspapers.
Artists are interviewed, their music is played, and their stories are shared. However, once the month ends, the spotlight dims, and these artists slip back into the background.
This cycle raises troubling questions. Why do our indigenous musicians only get visibility in September? Why are they labeled as “backward” or “outdated”? Why do advertisers avoid them, claiming their music doesn’t attract audiences?
Colonial mentality and the devaluation of indigenous music
The dismissal of indigenous music as “backward” or “uncivilised” reflects a deeper issue: the ongoing influence of colonial thinking. Even today, some Africans look down on artists who play indigenous music, viewing them as outdated or unworthy of serious attention. I am not suggesting that everyone must like the same music—preferences will always vary—but I take issue with the disdain shown toward indigenous genres. This negative attitude goes beyond taste; it shows internalized colonial beliefs.
Researchers like David and Okazaki (2006) and Nunning (2015) define colonial mentality as the internalized sense of cultural inferiority in previously colonized populations. In South Africa, this belief leads people to view indigenous music as primitive while seeing Western genres as modern and desirable.
Such views are a result of colonial propaganda, which taught individuals to reject their heritage and measure progress by Western standards. When African audiences dismiss their own music as “uncivilised,” they unknowingly perpetuate this colonial mindset. This harms musicians, weakens cultural pride, and reinforces the very systems that aimed to erase indigenous identity.
The connection between indigenous music and identity
Understanding indigenous music means recognizing its deep ties to identity. Merlan (2009) points out that “indigenous” typically refers to communities closely connected to their land and often impacted by colonization.
As Yende (2023) highlights, colonialism and apartheid systematically attacked indigenous music, labeling it as “evil” or “inferior.” Western standards of civilization and culture were upheld as the best, while African oral traditions, community performances, and rhythmic complexity were undervalued. This legacy is still alive in today’s media, which continues to favor Westernised genres.
Historical suppression and contemporary invisibility
Colonial mentality shapes how people view indigenous music today. Colonial education aimed to reinforce this mindset, encouraging Africans to deny their heritage while celebrating European culture. By discouraging the teaching of African customs, music, and languages, colonial powers disrupted the passing of indigenous knowledge from one generation to the next.
Nadal (2011) identifies four signs of colonial mentality: self-denigration, devaluing indigenous culture, discrimination against less Westernized members of the same community, and accepting oppression. Together, these forces created generations disconnected from their roots and their music.
This historical suppression explains why indigenous musicians often go unnoticed, except during Heritage Month. It also clarifies why advertisers and media gatekeepers hesitate to embrace these genres, viewing them as commercially weak rather than as valuable cultural assets.
Social media and the reclaiming of visibility
Yet, there is hope. Social media is changing the game. Platforms like TikTok and Facebook give indigenous artists direct access to audiences, allowing them to bypass traditional media biases. As Ndlovu-Gatsheni (2015) argues, decoloniality involves breaking free from colonial thoughts and reclaiming one’s identity.
TikTok has become a space for resistance, creativity, and pride. Young people are dancing, remixing, and celebrating indigenous music on these platforms. They show that the issue wasn’t a lack of interest, but a lack of exposure. By gaining visibility online, artists are challenging outdated beliefs and rewriting their stories.
The call for year-round recognition
The truth is that indigenous music isn’t a seasonal decoration to be showcased every September. It is a living archive of identity, resilience, and cultural pride. For too long, mainstream media has treated it as a mere token during Heritage Month. It is time for broadcasters, advertisers, and audiences to recognize its value throughout the year.
Indigenous music isn’t backward; it is the soundtrack of who we are as South Africans!
Conviction.co.za
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