Makhathini’s verbal and written commentaries on his music, connoteshis identification with and situatedness in Nguni cultural practices). Makhathini’s music oftencontains forms, rhythmic and harmonic approaches that invoke Nguni music practices,including the use of episodic and cyclical formal principles and the use of modalities. Whilethese musical gestures in themselves are not unambiguous markers of particular culturalpractices, they become clearer as spatial coordinates when read together with Makhathini’sdiscourses on his practice.

Makhathini’s verbal and written commentaries on his music, connotes his identification with and situatedness in Nguni cultural practices). Makhathini’s music often contains forms, rhythmic and harmonic approaches that invoke Nguni music practices, including the use of episodic and cyclical formal principles and the use of modalities. While these musical gestures in themselves are not unambiguous markers of particular cultural practices, they become clearer as spatial coordinates when read together with Makhathini’sdiscourses on his practice.