by Gerrit Bester
Dr Rostislava Pashkevitch-Ngobeni's contribution to a new book, The South African Handbook of Agency, Freedom and Justice: Citizens in Conversation, not only honours the legacy of reggae legend Carlos DjeDje, but also highlights the profound impact of music as a tool for social change. In an interview, Dr Pashkevitch-Ngobeni, who heads TUT's Department of Performing Arts, Faculty of Arts and Design, shares some insights into her contribution and how it came about.
You contributed a chapter in Volume 2 of a new book series titled The South African Handbook of Agency, Freedom and Justice: Citizens in Conversation. Could you tell us more about the book and how your contribution came to be? The book The South African Handbook of Agency, Freedom and Justice: Citizens in Conversation is part of a significant series aimed at examining pressing socio-political issues in South Africa. It brings together contributions from various scholars, activists and artists who explore themes around agency, justice, freedom and how these concepts are engaged with in everyday life. The goal is to ignite dialogues on what it means to be an active and conscious citizen in a society still grappling with the legacies of colonialism and apartheid.
My contribution to Volume 2 of this series is a chapter titled King Inna De Jungle: The South African Musical Prophecy. This chapter delves into the prophetic role of reggae music, particularly in South Africa, as a powerful tool for social change, with a specific focus on the works of Carlos DjeDje. It explores how DjeDje's music serves as a prophetic voice, resonating with the broader struggles for justice, freedom and cultural identity. His songs reflect historical resistance while simultaneously calling for ongoing activism, urging listeners to envision and strive for a more just and equitable future. By examining the themes of prophecy embedded in his music, the chapter highlights the transformative potential of reggae as a medium for expressing dissent and inspiring collective action in contemporary socio-political contexts.
Dr Rostislava Pashkevitch-Ngobeni contributed a chapter to a new book The South African Handbook of Agency, Freedom and Justice: Citizens in Conversation.
The launch took place at the University of KwaZulu-Natal on 1 October, where you also performed. What was your experience of the event? The launch was a truly memorable and enriching experience, especially as it connected to my ongoing exploration of Artivism. Performing the Warsow Concerto by Richard Addinsell during the event allowed me to illustrate the powerful intersection of art and activism. The piece embodies themes of struggle, resilience and hope, resonating deeply with the audience.
The atmosphere was electric, with attendees ranging from scholars to community members, all eager to engage with the themes of my chapter and the broader messages of the book. It was inspiring to see how the audience connected with the idea of music as a vehicle for social change, sparking discussions about the role of art in addressing contemporary issues.
Can you provide an overview of the book chapter? The chapter focuses on the aesthetic and functional role of reggae music within South African cultural and political contexts. It explores how the music serves not only as entertainment but also as a powerful tool for social commentary, resistance and prophecy.
Rooted in my broader interest in Artivism, this chapter delves into the ways reggae music, particularly its roots and messages in South Africa, reflects and influences the struggle for justice and liberation. I highlight how musicians like Carlos DjeDje and others use reggae to address social inequality, inspire collective action and shape public consciousness around issues of freedom, agency and identity.
This chapter fits into the broader theme of aesthetics by examining how the arts, specifically music, function as a form of activism. It explores how the sounds and messages embedded in reggae not only reflect the current socio-political landscape but also act as a prophetic voice, calling for change and a better future. Through this lens, I examine the ways music transcends entertainment to become a vital force in political and social movements.
You created the original musical King Inna De Jungle, the first reggae musical that follows the life and journey of Carlos Djedje, who significantly influenced you. The musical was performed at the Breytenbach Theatre in 2017 in honour of Djedje, who sadly passed away last year. How did his influence shape your work? Carlos DjeDje's influence on my work, particularly in creating King Inna De Jungle, has been profound and deeply personal. Meeting him felt like a cosmic alignment; despite my father’s absence in my life due to political reasons, Father Carlos, as I called him, stepped into that paternal role effortlessly. His humble demeanor, extensive knowledge of music and wisdom left an indelible mark on me.
The connection we formed was natural and nurturing. Father Carlos introduced me to reggae not just as a genre but as a philosophy of life. He often referred to me as his daughter, which was a testament to the bond we shared. His genuine spirit and infectious humor made it easy for others to accept our unique relationship. His philosophy of "One Love" became a lens through which I began to see the world, reminding me of the importance of kindness and positivity.
Through our time together, Father Carlos instilled values that extended beyond music. He emphasised discipline, respect and dedication to the craft, sharing insights about the necessity of education in developing musical talent. Although he never had the formal education that many students enjoy, he constantly encouraged them to embrace their learning opportunities. His words, "Do good because you don’t want when you walk on the street for people to wish you bad," resonate with me and shape my approach to life and art.
His passing left a significant void in my life, akin to losing my own father. This loss fuels my commitment to honour his legacy through my work, ensuring that the lessons he taught me continue to inspire and uplift others. Creating King Inna De Jungle was not only a tribute to his life and contributions to music but also a celebration of the values he imparted to me and so many others.
The book features contributions from notable South Africans, including Prof Barney Pityana, a human rights lawyer and theologian, and Dr Reuel Khoza, a prominent businessman and thought leader, among others. What does it mean to you to be published alongside such distinguished individuals? It is both an honour and a deeply meaningful experience for me. Their contributions to human rights, business and thought leadership have had a profound impact on South Africa's socio-political landscape and sharing a platform with them affirms the importance of interdisciplinary dialogue in addressing the challenges we face as a society.
It reinforces the significance of my own work within the broader context of Artivism, as it highlights how various fields – be it law, business, or the arts – can intersect and collaborate to drive social change. Their insights and experiences provide a rich backdrop to my chapter, allowing me to see my contributions as part of a larger narrative that seeks to promote justice, freedom and cultural identity.
Moreover, this experience motivates me to continue my advocacy for the Arts as a vital component of social activism. Being part of this collective voice amplifies the message that music, like other forms of expression, holds transformative power and can contribute meaningfully to the discourse around human rights and societal progress.
Anything noteworthy that you would like to add? One noteworthy aspect of this experience is the realisation of how Artivism serves as a bridge between various fields and disciplines. It reinforces the idea that creative expression, particularly through music and performance, can transcend traditional boundaries and foster a collective sense of purpose in advocating for social justice.
Being included in this book alongside esteemed figures highlights the urgency of collaborative efforts in addressing the complex issues facing our society today. It inspires me to continue exploring the potential of music and the arts as tools for empowerment and resistance.
Additionally, I hope that my contributions, particularly in King Inna De Jungle and the discussions surrounding Carlos DjeDje’s legacy, can inspire others to view art not just as entertainment but as a vital force for change. The legacy of artists like DjeDje reminds us that through our creative expressions, we can challenge injustices and inspire hope, unity and resilience in the pursuit of a better future.
The cover of The South African Handbook of Agency, Freedom
and Justice: Citizens in Conversation (Volume 2)