Indigenous Sounds Take Centre Stage at SAJE Jazz Conference Hosted by UKZN

The 16th Conference of the South African Association for Jazz Education (SAJE), hosted at the University of KwaZulu-Natal’s Centre for Jazz and Popular Music (CJPM), brought together leading musicians, scholars and educators to explore the theme: ‘Indigenous Musical Elements in South African Jazz: Exploring Theory and Practice’.

The conference featured research presentations, masterclasses, panel discussions and performances examining how indigenous musical knowledge informs the language, philosophy and practice of South African jazz.

According to SAJE President Dr Sibusiso Mashiloane, the conference exceeded expectations by fostering meaningful dialogue between scholars, performers and students.

“The conference was very meaningful for us as an organisation,” he said. “What made it successful was the depth of the conversations and the sense of shared purpose. People engaged seriously with questions about musical identity and the role of indigenous knowledge in shaping South African jazz.”

Mashiloane noted that discussions throughout the conference reinforced the importance of recognising indigenous musical traditions as foundational to the genre.

“One of the key insights was that indigenous musical elements are not decorative additions to jazz; they are foundational structures with meaning,” he said. “Understanding indigenous musical systems is essential to authentically understanding South African jazz.”

A highlight of the programme was a masterclass by legendary guitarist Bheki Khoza on Zulu musical elements, indigenous guitar language and South African jazz practice, delivered through storytelling and live performance.

Khoza reflected on his musical journey, explaining how his early influences were shaped by jazz and popular music before he later returned to explore the richness of maskandi traditions. “I realised later in my life that I needed to go back and learn maskandi,” he said, noting how reconnecting with indigenous musical knowledge influenced his creative process.

“When I compose, I always begin with a title,” he explained. “The title guides the direction of the music. The piece might not even have words, but I work towards that idea and feeling.”

The conference also featured a panel discussion titled ‘Zulu Tonalities & Jazz: Language, Pitch, Improvisation’, which explored the relationship between indigenous musical language and jazz practice. Among the panellists was veteran pianist and educator Susan Barry, who reflected on how African musical influences have shaped her artistic voice.

“When I improvise, these sounds naturally come out,” she said. “Sometimes they sound distinctly African, and that influence has been with me for a long time. From childhood I was drawn to the singing I heard in African communities, and over time those sounds became part of how I hear and understand music.”

Vocalist and composer Lu Dlamini who also performed in the closing concert at The Chairman, emphasised the importance of language and cultural identity in interpreting music. “When you sing in your mother tongue, the phrasing and pronunciation carry the story,” she said. “If everything is translated into English, much of the depth and meaning can be lost.”

Dlamini also reflected on the historical role of music as a platform for expression and voice in South Africa. “For many Black musicians before my generation, music was not simply about entertainment. It was one of the few spaces where people could speak honestly about what they were experiencing and hoping for.”

Looking ahead, Mashiloane said the conference highlighted the need for curricula that acknowledge indigenous music alongside conventional jazz pedagogy. “We hope the collaborations formed here will lead to new research, creative projects and stronger mentorship for young musicians.”

Through dialogue, performances and scholarship, the conference reaffirmed the role of indigenous musical knowledge as a vital force shaping the past, present and future of South African jazz.

Words: Lorna Charles

Photographs: Supplied