The Uhadi and Malunga Bow: Curatorial Implications
This thesis is a formal study of how museums in South Africa preserve, display and engage musical bows. I analyze the interesting ways, Museum Africa has collected, stored and researched the Xhosa uhadi bow in their collection, from a curatorial perspective. To extend and substantiate this research, I examine the Siddi’s who are African-Indians from which the malunga bow originates; which has correlating characteristics to the uhadi bow. This study is prompted by the initiative to restore a neglected and forgotten area of musical bows, particularly those that document and encapsulate disappearing traditions and cultural practices. The main focus of this thesis is on museum curatorial practice in Gauteng and current female bow performers in Gauteng. There is a personal interaction with museum informants, while there is a personal and electronic interaction with bow performers whose views are presented separately in this study. The practicality of this study is to learn to understand my own surroundings i.e. traditions, beliefs of South African cultures. While learning that of unfamiliar countries in order to understand and learn similarities that are influences from different parts of the world and differences that make us who are because of the way we have lived in different societies.
A Thesis submitted to the Faculty of Humanities in partial fulfillment of the requirements for the Degree of Masters of Heritage Coursework and Research Report. MARCH 2018
Pepu, Lindelwa (2018) The Uhadi and Malunga bow:curatorial implications, University of the Witwatersrand, Johannesburg, <http://hdl.handle.net/10539/26611>