Creating Themba Mkhize’s Jazz Learning Biography

Abstract

Themba Mkhize, born on the 9th of April 1957 in Durban, is recognised as a seminal figure in South African jazz, known for pioneering a distinctive jazz style, characterised by blending traditional Zulu music such as mbhaqanga, isicathamiya, amahubo and maskandi with jazz elements. Although there is a rich body of research on South African jazz and jazz musicians, including several biographies, little attention has been paid to jazz music education in South Africa. This thesis is thus a study of how Themba Mkhize learnt jazz from early childhood to the present day. It explores the contexts and modes of Mkhize’s jazz learning, focusing on his musical learning practices and processes; and the biographical factors that influenced his music education. The research takes the form of a music learning biography - a narrative account of Mkhize’s jazz music education. It is designed as a life-narrative that interweaves biography with an account of Mkhize’s music learning and education. It explores his learning history by drawing on narratives gathered through interviews with Themba Mkhize himself, Khaya Mahlangu (a fellow professional jazz musician, band mate and one of Mkhize’s contemporaries), and his son Afrika Mkhize (who is also a professional recording jazz musician). I draw also on journalistic accounts of Mkhize’s musical output; as well as my own perspectives as a professional performing jazz musician. The research uses Lucy Green’s concept of “informal musical learning” (2008) as a lens through which to view how Mkhize learnt music. Through creating Mkhize’s jazz learning biography, the thesis provides glimpses of South African jazz history, particularly South African jazz pianism. The research contributes to an understanding of how life history and musical learning are connected. The findings emphasise the significance of family, community, church, culture, bands, Internet, homes of musicians, jam sessions, and school contexts as spaces where jazz learning takes place. It argues that it is in these informal community contexts where many jazz musicians learnt their craft, rather than in formal education; and proposes further research that examines informal musical learning practices in South Afric