A journey of heritage, innovation, and musical resurgence

Titled “My Journey”, Professor Mzikantu Zungula Dizu Plaatjies’ inaugural lecture took a deep dive into the rich tapestry of his life, traditional African music, and the art of musical bow-making. The lecture was hosted at the Baxter Concert Hall on 28 August. Professor Plaatjies’ dedication to preserving and innovating the musical heritage of the African continent is woven into his journey through the decades. It was attended by his students – past and present – family, peers, and colleagues.

Plaatjies’ narrative was not just a reflection on his achievements but a testament to the strong influence of his Mpondo heritage. One of the most notable announcements ahead of his inaugural lecture was that he will be retiring in the same year he rose to full professorship.

From his early years in Lusikisiki, Mpondoland, Plaatjies’ environment cemented his deep appreciation for traditional music. His journey began in Mpondoland, where its artistry and tapestry not only shaped his outlook but also his love for traditional music, musical instruments, and the healing power of music. Instruments include the uHadi (musical bow) and uMrhubhe (traditional mouth bow).

The event featured three distinguished speakers, including the University of Cape Town’s (UCT) vice-chancellor, Professor Mosa Moshabela; the dean of the Faculty of Humanities, Professor Shose Kessi; and master’s student and Plaatjies’ niece, Thabisa Dinga.

“Inaugural lectures mark the ascent to full professorship, the highest academic rank,” said Professor Moshabela. “It provides universities with an opportunity to celebrate the achievements of the academics. They also, importantly, provide an opportunity for the inaugural lecturer to share his or her insights into their scholarly work in a manner that is accessible to us, the broader audience. Professor Plaatjies’ work is a beacon of cultural preservation and innovation.”

Recognising and acknowledging heritage

Professor Kessi said that the way Professor Plaatjies connects the past with the present through his music is “truly inspiring”. “His work reminds us of the richness of our cultural heritage and the importance of keeping these traditions alive in a rapidly changing world.”

Over the decades, Plaatjies has mastered the musical bow while also becoming a master bow maker, creating innovative instruments that blend the old with the new. His work at UCT and beyond has ignited the conversation through the appreciation of musical bows.

“I grew up in ‘urban times,’ and my journey into the art of the bow started with my rural Mpondo mothers and aunts,” Plaatjies said. “This journey has taken me far away from these early formative interactions. However, the impact of their artistry and wisdom on me has not waned. It has provided sustenance and solace throughout my career as a performer, instrument builder, educator, and mentor. Now is the time for me to reflect on aspects of the past and also contemplate what the future holds.”

His road, Plaatjies noted, was not a solitary one. He was moulded and shaped by the community and guided by the voices of his ancestors.

“My mother was a schoolteacher, and although she was not a bow player, my father was. I inherited this not only from the surroundings of my village but from my family,” he explained.

“Mantombi Matotiyana, who taught me how to play uMrhubhe, was part of our family. She was like a twin to the legendary Madosini, with whom I travelled the world, performing and sharing our music.”

A journey deeply vested in the African culture

It became clear that Plaatjies’ relationship with traditional music was as much about innovation as it was about preservation. “I didn’t just learn from my people; I went beyond that. I travelled to different places, searching for something that I wanted to know about all these bows. I travelled to 95 countries with this music – it is something that I am very proud of.

“I found that most of the music we play comes from the same people. If you listen closely, all these intricate patterns are there in the early recordings of the San people. But the problem is, sometimes people are not acknowledged. My heart aches for that because they need to be given their due recognition.”

The lecture was a vivid journey through the landscapes of African music, underlined by his deep respect for the women who played a central role in his life and career.

“Mothers play a very important role in everything,” he continued. “When our fathers went to seek employment in big cities, mothers stayed behind with the children. They made our houses warm, filled with traditional instruments that have been there as long as the Xhosa-speaking people have ever lived. The uMrhubhe for instance, has been around for 70 000 years. You can Google that,” Plaatjies quipped.

Dedicated beyond his craft

His dedication to his craft and heritage has been recognised both locally and internationally. Plaatjies’ work has taken him across continents, where he has performed on the grandest stages, including Nelson Mandela’s 70th birthday celebration at Wembley Stadium. “I travelled with Amampondo, the band I started, because I was jealous of only hearing British and American music. I wanted to hear my music from my own country,” he recalled. “It didn’t take us long to be internationally acclaimed. Within four years, we were conquering every country.”

In the latter part of his lecture, Plaatjies reflected on the importance of acknowledging those who came before us and the knowledge they passed down. “These people, the San, they’ve got knowledge. They were the first people found in this land, and they’ve discovered so much, including the bow, which is central to their music. Yet, today, we often don’t talk about these things.”

Dinga, Plaatjies’ niece and a traditional music enthusiast, shared her thoughts: “Listening to Professor Plaatjies was like taking a journey through time. His passion for traditional music and his dedication to preserving it for future generations is truly inspiring.”

As Plaatjies prepares for his official retirement from UCT, his legacy is far from complete. His work will continue to influence future generations, not only as a performer and educator but also as a cultural historian and innovator. His journey, rooted in the traditions of the past, has always been about looking forward; about carrying the music of his ancestors into the future.

“I always like to acknowledge the people who started the instrument instead of saying that it’s me. We need to remember that the instrument belongs to the women. It’s only through them that I could bring this music to the world.”