Hearing Maskanda outlines how people make sense of their world
through practicing and hearing maskanda music in South Africa.
Having emerged in response to the experience of forced labour
migration in the early 20th century, maskanda continues to straddle
a wide range of cultural and musical universes. Maskanda musicians
reground ideas, (hi)stories, norms, speech and beliefs that have
been uprooted in centuries of colonial and apartheid rule by using
specific musical textures, vocalities and idioms. With an
autoethnographic approach of how she came to understand and
participate in maskanda, Titus indicates some instances where her
acts of knowledge formation confronted, bridged or invaded those of
other maskanda participants. Thus, the book not only aims to
demonstrate the epistemic importance of music and aurality but also
the performative and creative dimension of academic epistemic
approaches such as ethnography, historiography and music analysis,
that aim towards conceptualization and (visual) representation. In
doing so, the book unearths the colonialist potential of knowledge
formation at large and disrupts modes of thinking and (academic)
research that are globally normative.
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