Sello galane biography sample

Sello Galane is a vocalist and percussionist extraordinaire who was born in into a musical family. His father, Maeke, was a Kiba music and dance leader malokwane and his mother, Moaki, was a singer in the Lutheran Church. Sello grew up in Leboneng, Hammanskraal where he completed his elementary schooling. He received tertiary education at the University of Cape Town where he met other musicians like Judith Sephuma, Selaelo Selota and Magalane Phosokho, with whom he experimented in fusing kiba music into jazz.

After graduation in , they went separate ways to pursue solo careers; Galane reversed the experiment by fusing jazz and pop into kiba to a point where the repertoire grew beyond the confines of a single tribal traditional music genre. Galane plays a family of drums: sekgokolo father drum , kgalapedi mother drum and matikwane twin children.

His music has also featured in prestigious national events. Kiba, together with other indigenous African music genres have been included in the General Education and Training Arts and Culture curriculum since The notation was sorted partly by my coinage of concepts like aura phonics, aura phonology, and Afrophonia in my Doctoral studies.

This solved the problem of the exclusion of the oral-aural system of encoding and decoding music and sound in general as critical elements of music literacy. The concepts of aura phonics, aura phonology, and Afrophonia have been recently included in the National Curriculum Statement of South African schools for Further Education and Training Music content since Galane, elaborates that it was auctioned through the inclusion of the African Music principles in the National Curriculum statement of Arts Education in South Africa since Galane obtained his doctoral degree from the University of Pretoria on a longitudinal study of the legendary malombo guitarist Philip Tabane whom he has successfully campaigned for his awarding of an honorary doctorate by the University of Venda.

Nzewi, M. A contemporary study of musical arts informed by African indigenous knowledge system: Illuminations, reflections and explorations. Okeke M. Kuala Lumpur, Malaysia. Pick, J. The arts in a state: A study of government arts policies from ancient Greece to the present. Bristol: Bristol Classical. Schuster, J. Sub-national cultural policy — where the action is?

Sello galane biography sample

Mapping state cultural policy in the United States. Te Papa, Wellington: New Zealand. Culture for Development Indicators. Galane, S. Personal interview with L. Galane has been lauded for his sterling efforts to detribalise Kiba — the music of the Pedi and Northern Ndebele people — and make it more accessible to wider audiences. He has achieved this unique sound by utilising saxophones, guitars and drum kits within the Kiba format.

He was driven to achieve this transformation, he says, because he fervently believes in exploring the best of both worlds to advance human experience. In an interview he talks about the scourge of tribalism and how it is "one silent threat to peace and the nation-building project. It is as dangerous as racism is to the nation building of our fragile democracy.

I have achieved this by singing in African languages from all over the continent, and by working with fellow musicians from different parts of the world. Our catalogue bears testimony to achieving this goal. Each song in any album has a unique DNA. They, therefore, cannot be compared and pitted against each other. People prefer some to others based on their life experiences and the right to choose what they like.

I unfortunately don't enjoy that right as far as my compositions are concerned. They each represent a different moment in time of my life. On the question of his music, Galane explains: "The issue is to retain a music idiom you are exploring by any instrument necessary. Focus should be laid on the final product you've produced, whether the musicianship and skills explored have succeeded in growing the idiom of the music and genre or not.

Care should be taken not to detract from the essence of the music and its purpose. My mother, Moaki, was an avid reader and consummate singer. My father, Maeke, was a spectacular dancer of Dinaka and came from Ga-Maraba and Mashashane villages. Both the melodic and rhythmic qualities they both had culminated in my experience, hence the Free Kiba genre I introduced to the world.

His respect for indigenous classification of genres of music in their original names is laudable. His promotion of African languages in the lyrics of his works shows the high regard he had for the communities that, over the centuries of Imperial domination, have preserved the languages. The centrality of the African music idiom in the flute, voice, guitar and drums is unmistakable.

His resilience in using any instrument he could master, and imbuing it with African rhythms, is a marvel for younger generations to follow. I have explored this approach in my own way and it works. This constitutes what he terms "epistemic violence". He feels inappropriate classifications bring about difficulties for the formal teaching and learning of music.