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The Vhavenḓa, an indigenous group residing in the Limpopo Province of South Africa, are celebrated for their profound cultural practices and traditional crafts that embody their rich heritage. Their connection to their ancestral lands is not merely geographical; it is deeply intertwined with their spiritual beliefs and communal identity. Central to this belief system is the Sacred Forest, which serves as a vital cultural and spiritual sanctuary. Furthermore, the Vhavenḓa King (or Queen)[i] symbolizes the unbroken lineage and governance that have been integral to their social structures for centuries.

Geographically, the Vhavenḓa inhabit roughly one-third of the Zoutpansberg District in the Limpopo Province, primarily dispersed throughout the Zoutpansberg Mountain range. The area’s topography—marked by kopjes, steep slopes, and striking geological formations—has historically offered a natural defence against external threats. This rugged landscape has allowed the Vhavenḓa to maintain their traditions and practices amid socio-political upheavals.

Figure 1: Drums are a vital part of the Vhavenḓa music and feature at all traditional rituals and ceremonies. The smaller drums are called murumba and the big drum played with drumsticks, is called tshumbo.

Despite contemporary influences, these communities have preserved numerous customs, including traditional rituals, arts, and crafts. The vibrancy of their culture is evident in their intricate beadwork, pottery, wooden crafts, and the enchanting dances that accompany their ceremonies.

Most traditional African dances can be classified into three primary categories: ritual dances (such as fertility dances), narrative dances that convey oral history, and educational dances that depict everyday life. These dances are connected to the worldview of the society that creates them and represent an art form that, in its purest shape, transforms thoughts, emotions, and images into significant movement patterns that have both personal and societal significance.

Dance is not just a part of community life; it embodies and strengthens the community itself, narrates their history and tradition, teaches appropriate behaviour, and helps uphold their values. According to the Vhavenḓa, there is no distinction between dance and music (including songs); they are regarded as a single concept. All the information in this article, including the names of specific dances, is as sourced from the Vhavenḓa interviewees during anthropological fieldwork carried out in Mukumbani Village, located in the Vhembe district of the Limpopo Province.

Figure 2: The chief mungome demonstrating the Malombo trance dance.

Malombo is a trance dance performed by a mungome (diviner) on two occasions: to seek peace for the spirits of ancestors or as a healing dance for those mentally possessed. During this dance, the dancer ‘forgets’ Tshivenḓa and reverts to Tshikaranga, one of their ancestral languages. To protect against evil spirits, the dancer wears a skin draped over her shoulders and carries a tsanga (staff). The leopard is regarded as a sacred animal in the Vhavenḓa culture. It holds significant spiritual importance and is often associated with royalty and power, which are revered in many cultural practices and rituals. In this instance, the dancer is the chief mungome (diviner) and is thus honoured with the privilege of wearing a leopard skin that has been passed down through several generations of chief mungomes.

Tshigombela, a female song and dance genre, is performed exclusively for the chief and requires his permission to take place. Any number of dancers can participate – the more, the better

Figure 3: Tshigombela dancers bow before the chief at the end of the dance.

. The dance is often performed during significant celebrations, such as weddings, festivals, and community gatherings, serving as a means to express joy and unity among participants. Like many traditional dances, Tshigombela can convey stories and historical narratives, passing down knowledge and traditions from one generation to the next. The dance promotes a sense of community and belonging, as it brings people together, encourages participation, and strengthens social bonds. In some contexts, Tshigombela may also incorporate spiritual elements, providing an opportunity for participants to connect with their ancestors and cultural heritage.

Figure 4: Malende dance.

Malende is a vibrant social dance that can be performed anywhere, anytime, typically during cultural celebrations and ceremonies. It is characterized by energetic and rhythmic movements. The dance often showcases colourful costumes and is accompanied by singing and drumming, reflecting the rich cultural heritage of the   Vhavenḓa community. It is frequently performed at social gatherings, celebrations, and rituals, promoting a sense of community and unity among participants. Its significance closely resembles that of the Tshigombela dance, but it is typically performed during joyous occasions, such as weddings and harvest festivals, symbolising happiness and communal spirit. The dance can also hold spiritual importance, as it may be performed to honour ancestors or seek blessings, bridging the gap between the living and the mystical world.

Figure 5: Tshifase danced by an adult couple.

Figure 6: Tshifase danced by a young boy and girl.

Tshifase is a type of mock courtship dance which features an uplifting beat and can be performed by both adults and children. This dance is accompanied by lively cheering and commentary from the onlookers. The Tshifase dance serves as a form of sex education for young girls and boys. What is striking is the mature words chanted by the children on the side-lines – some as young as three years old.

In conclusion, the Vhavenḓa embody a rich cultural tapestry shaped by their environment, history, and spiritual beliefs. Their enduring connection to their land and traditions serves as a testament to their resilience and cultural identity, ensuring that the legacy of the Vhavenḓa continues to thrive in the contemporary society.

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[i] The legal challenge for the throne has been an ongoing struggle since Princess Masindi Mphephu contested the court’s decision in 2016 to recognize her uncle, Mphephu-Ramabulana, as King of the Vhavenḓa.

 

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