THE CREATIVE LOGIC AND INTENTIONS OF AFRICAN INDEGENOUS KNOWLEDGE

SYSTEMS
The creative logic and intentions of indigenous knowledge systems and African musical
arts are informed by an African philosophy of life. This philosophy permeates all aspects of
human life and interaction and mould the African psyche. Philosophyguides creativity
and performance practice in the musical arts branches of indigenous music, dance, drama
and the visual arts and the African philosophical disposition demands the coding of
meaning into creative enterprise (Nzewi 2007:28).
Since the indigenous African conceptualization is holistic the musical arts are inseparable
from the philosophy (Nzewi 2007: v). The musical arts are the main medium through
which the philosophy and knowledge are transmitted and developed and are indispensable
to the African way of life. In Africa, the musical arts become a ..force that transacts the
issues of life, health and death.generate a conducive spiritual disposition for engaging
with sensitive issues of life (ibid). Music forms the pivotal core around which (African)
community is structured (Levine 2005).
This essay will explore the logic and intentions of African knowledge systems and by
natural extension the musical arts in Africa since ideally, the musical arts indigenously
recreate and perform the African cosmos. Much of this discussion will rely on the
literature and discourse of Nzewi Meki
i
. From the view point of this author, much of African
philosophy, indigenous knowledge systems and the total way of life has ceased to be what
it was. As such, he states many things in the past tense, hinting to the fact that they are no
longer that way. He also uses the present tense indicating how things are and the
normative or prescriptive pointing to how he believes they ought to be.
Knowledge systems
According to Masoga (2006:41) indigenous knowledge systems are defined as follows by
the South African trust:
"Emanating from the human spirit are life experiences organized and ordered into
accumulated knowledge with the objective to utilize it to improve the quality of life
and to create a livable environment for both humans and other forms of life."

Knowledge systems are being understood as the ways in which a culture safeguards and
transmits essential accumulated knowledge within itself and to consequent generations.
This includes the methods by which knowledge is obtained and its modes of transmission.
African knowledge systems are passed on from generation to generation and insure the
survival of the African way of life.
This knowledge is the culmination of generations of perfected invention and research, and
human and cultural experiences (Nzewi 2007:4). The knowledge is recycled. Recycling is
not repetition, but a developmental reworking that produces new insight, enrichment,
intensity and thereby growth in effect and affect (Nzewi 2007: vi). Nzewi continues to
explain that this cyclic growth regenerates and recharges significant musical themes or
structures in the musical arts. Indigenous knowledge is passed on orally using music, songs
and narrative.
Meki (2007:14) explains that improvisation and competence are significance and states
that outright banality is correctively scorned. Unlike in western music, African
performances are not built around written score. Performers rely on their musical ear,
technical knowledge, intuition and creativity (improvisation); A deeper though
unconscious knowledge of the workings of the African collective mind, as given through
enculturation.
The Philosophy
The philosophy of Africa is often called ngumuntu. Andrew Tracy, in his preface to The
Drumcafes traditional music of south Africa (Levine 2005) states that the essence of the
African character lies in the concept of ngumuntu
ii
. It is a we philosophy in which
individualism and isolation are not welcome and could lead to the destruction of the
African way of life. In no single individual is deemed or rated greater than the group
(Meki 2007: v). The community is important. Meki explains that for this reason, every
innovation in indigenous knowledge was and should be rationalized and adopted in the
cardinal principal that it would engender community wellbeing, values and virtues.
African musical arts comprise a system of applied knowledge. The
conceptualization and theory are critically grounded in other societal and
humanistic imperatives. The sonic, choreographic and dramatic logic of the musical
arts of indigenous Africa cannot be genuinely discussed in isolation from their
societal context of conceptualization and conformity. (Meki 2007: ix)
Music primarily serves a functional role in African cultures. Meki points out that although
the entertainment aspect is implicit in the musical arts, it is not to primary consideration in
approving the merits of a presentation or manifestation (2007:30). Meki explains that the
perception and assessment of beauty is not concerned with superficial loveliness or
grandeur in Africa. And Music that is conceived and configured to provide sheer
entertainment fantasy is an exercise in creative vanity (2007:38)
How a thing appears is not as important as how a thing performs. Unlike the western
perception of art and aesthetics as being central to the role and importance of art, African
view on this is summarized as follows:
Objective aesthetics or utilitarian outcome is an African creative aspiration that
generates post performance discourse; where aesthetic affect is spontaneously
performed in the context of presentation to catalyze enhanced creative genius.
(Meki 2007:36).
Participation is important. All music participate in performance and it is a way of sharing
and bonding. Social, human and emotional bonding is revealed in the environments as
well as structures of playing together, feeling together and mutual consciousness of one
another (Meki 2007: 52).
Music is energy: psychical energy, activating energy and emotive energy (Meki 2007). This
energy has potential to stimulate growth. Together with the idea of recycling and cyclic
development of form in music and perception of time as well as the idea of living in the
moment all contribute to the idea that African music is aimed at facilitating growth by
generated energy and towards a stronger communal bon

The logic and intentions
African music education is largely an informal process even in instances of musical families
and musical trades. But informality does not imply lack of philosophy and systematic
procedure in transmitting the knowledge of a music culture (Nzewi 1999:73)
The idea of value in Africa is hinged upon how that entity contributed to communal life and
positively enhanced the well being of the community. Even the use of superlative negatives
is valuable. Things that are ugly, abnormal, bitter absurd or disagreeable may not be
negative; This is a philosophical transfer to the arts of the practical knowledge that what is
raw or bitter (experienced or ingested) insures health; the smooth or sweet dulls health
and may even be injurious (Nzewi 2007:36). The potency of these superlatives negatives
are rated according to breathtaking ugliness or absurdity which is the intended positive
impact. An example may be found in the fearsome looking masks that are worn during
spirit manifest dances. Another way in which this is done is by the use of language:
horrifying, descriptive text through which restraint is built into the psyche of young
individuals (Kubik 1987:52)
Most musicians and analysts have assumed that a systematic approach is non-existent
simply because there is no unnecessarily verbal or written tradition (Nzewi 1999:74).
There is logic and intention in the African musical arts. Below are some of them.
Dichotomy/Dualism
The African world view prescribes that whatever exists implicates two facets:
complimentary opposites (Meki 2007:232). Meki explains that the more prominent nature
can obscure the perception f the other subtler facet.
Musical sense and musical meaning form facets that are present in all musical arts objects.
Meki (2007: 232) writes that an Igbo master musician, Israel Anyahuru, had this to say
about music making:
Making music is more than just a matter of making musical sense. The musical
sense commands conformity with cultural compositional logic, grammar and syntax,
in order to be approved of as a cultural creative product in the first instance
Sometimes the sonic/choreographic effect or affect of a musical arts product tends to
overshadow the consciousness of its subtle impact on the psychobiological human system
(Nzewi 2007:232). It is not always easy to see the dichotomy that exists especially in the
musical arts where the prominent nature is strong.
A dichotomy exists in the African perception of reality (metaphysics, epistemology): the
tangible world where man dwells is the domain of the earth/creator deity, sustainer of
material life, and the intangible which is the domain of the supreme creator and spirit
beings.
Whatever is, needs a complement in tangible and intangible dimensions to balance
the psyche of existence and accord wellness to the non-substantial mind and
thereby the material body (Nzewi 2007:10)
This duality extends to many aspects of indigenous knowledge systems and musical arts in
Africa: a bi-perceptual philosophy of the universe then permeates creative thinking,
manifestations, conformation and the aesthetic in all the branches of musical arts (Nzewi
2007:30). This displays as gender complementation which is considered the basis of
continuity in life, nature and cosmos: there is need for opposite but complimentary forces
to exist to perpetuate and balance life. The leading or principal instrument in many African
ensembles is often called the mother of music that is the person who gives birth to great musical
and dance ideas and performances (Herbst, Meki and Agawu 2003:53). They may possess
differing levels of certain characteristics, but they are balanced and tempered by the other
force. Both hold equal status and no one is superior to the other.
Light and darkness
Light and dark are an interesting duality in African indigenous systems. Nzewi (2007) has a
divergent perception of light and darkness. He states that light and dark are not
dichotomous. He further indicates that the perception of darkness as the absence of light
and absence of vision is not accurate. Darkness, though it is the absence of sight, allows us
to focus and perceive what we cannot see in the light. The light can be blinding and obscure
and hinder the workings of the mind. Contrary to the popular belief that the darkness
embodies deception and other evils Meki(2007:37) states that more deceptions are
perpetrated and believed in the glare of light than in the cover of darkness (ibid).
Light is not as illuminating as some believe in Nzewis view. One does not really see better
or perceive deeper insight in the light. In fact, Nzewi states that too much light obscures
merit, and deviates from deep seated spiritual values and virtues. Light is exciting and
effervescent. The interplay of light and darkness generates profound enrichment, affective
and effectual, in creativity. This interplay informs African indigenous music conformation,
creative intention and logic. This notion of light and darkness applies to the musical and
plastic arts as will be explained below.
The idea light and darkness as informing intention and logic in indigenous knowledge
systems and musical arts is similar to the idea of contrast (sameness and difference) in
western music. Creativity, composition and improvisation are dependent on the sameness
and difference. Although this is the case, many other factors in the philosophy and practice
of music in the two musical cultures undermine the significance of this similarity.
The Duality/Dichotomy and music
Musically, this duality manifests many ways. However a selected few will be discussed in
this essay: Ensemble playing and the instruments used and how they are used, presence of
male and female instruments, organization, the relationship between music and dance,
harmony and texture, and the meaning/interpretation.
In ensemble playing, duality manifests in the way the instruments are chosen and played.
There are some instruments which are considered male or female. The female is the
larger, more enduring and stronger spiritual force. The male is the lesser and weaker, it is
more volatile. (Nzewi 2007:11). Ensemble playing involves light and dark sections to
balance tension and catharsis in performance. According to
Tones and colors interface in terms of light and dark textures, hues and sonic perception
that compliment as well as enhance each other (Nzewi 2007:37). The organization of music
metrically and structurally also reflects a dualism. The principle of dualityguides the
structural configurations of thematic material in music and dance (Nzewi 2007:31). The
principles of complementary motifs/phrases that constitute a full thematic statement and
the interplay between meter in compound quadruple and common quadruple meter are
examples of how duality evidences in African music. Most African drums, like the Djembe,
have high and low toned pitches which echo this idea.
Meaning and the interpretation of artit is a foundational philosophical lesson about life
that nothing is what it seems to be; and nothing means what it seems to mean (Nzewi
2007:29). The use of metaphor, use of proverbs, and hidden meaning make African music
In summary, African indigenous knowledge systems and musical arts are intricately
connected and interdependent. These and African philosophy are also inseparable. Within
these ideas, few stand out: complimentary opposites, light and darkness,



i
The author uses various styles of writing including narrative to communicate his ideas. As such some of
the citations from his sources are not direct and may be inferred.

ii
The isiXhosa saying Umunthu ngumunthu ngabantu and Sesuthu saying Motho ke motho ka batho
ka bang evoke ngumunthu. Also known as ubunthu or umunthu in other African languages













Bibliography
1. Blacking John. 1976. How musical is Man? London: Faber and Faber

2. Herbst Anri, Meki Nzewi, Kofi Agawu (Eds) 2003. Musical Arts in Africa; Theory,
practice and education. University of South Africa, Pretoria.

3. Kubik Gerhard 1987. Malawian music; a framework for analysis. Centre for social
research, University of Malawi, department of fine and performing arts.


4. Masoga Magomme Alpheus. Building on the indigenous: Challenges for musical arts
education in South Africa. Potgieter H. (Ed) 2006:p 40-66

5. Nzewi Meki 2007. A contemporary study of African musical Arts; informed by African
indigenous knowledge systems. Volume 4; Illuminations, reflection and explorations.
Centre for indigenous instrumental African music and dance (CIIMDA)

6. Nzewi Meki 1999. Strategies for music education in Africa. International Journal of
music education. International society for music education (ISME) Sage publication.


7. Potgieter Hetta (Ed) 2006. The transformation of Musical arts education: Local and
global perspectives from South Africa. North -West University