ABSTRACT The importance of music as a tool for political communication is widely acknowledged. In many societies and their respective traditions, cultures and customs, music has been central in reflecting the historical, contemporary and future aspirations of such communities. In reference to South Africa, recent student movements have been central in calling into question the postcolonial status of the country amid its colonial legacies. These movements have relied on decolonial discourses (#RhodesMustFall, #FeesMustFall, #StatuesMustFall) and have deployed them as a means of critiquing the condition of “formerly” colonised subjects within South Africa's postcolonial status. This paper focuses on the role of music in understanding colonial legacies within a postcolony. It deploys decolonial theories as a means of understanding the lived condition of black people and particularly Africans in the “post” settler colonial context of South Africa. Using Letta Mbulu's hit song “Not Yet Uhuru,” the paper argues that her lyrical message is instrumental in understanding the “colonial situation” within the country. Therefore in this paper, the question of the continuities and discontinuities of coloniality is read through Mbulu's lyrical content. Ultimately, the central argument of the paper relies on the role of music as a form of political or decolonial communication and how such can be instrumental in understanding the legacies of the past within postcolonial South Africa.

中文翻译：

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在作为殖民地的后殖民时期：对莱塔·姆布鲁的抒情内容的沉思

摘要音乐作为政治传播工具的重要性已得到广泛认可。在许多社会及其各自的传统，文化和习俗中，音乐一直是反映此类社区的历史，当代和未来愿望的中心。关于南非，最近的学生运动一直在质疑该国在殖民地遗产中的后殖民地位。这些运动依赖于殖民主义的话语（＃RhodesMustFall，＃FeesMustFall，＃StatuesMustFall），并将其部署为在南非的后殖民地位中对“以前”被殖民者的状况提出质疑的手段。本文着重探讨音乐在理解后殖民时期的殖民遗产中的作用。它运用殖民主义理论作为了解黑人，尤其是非洲人在南非“后”殖民者殖民背景下的生活状况的一种手段。该论文使用Letta Mbulu的热门歌曲“ Not Yet Uhuru”，认为她的抒情信息有助于理解该国的“殖民地局势”。因此，本文通过姆布鲁（Mbulu）的抒情内容来解读殖民主义的连续性和不连续性问题。最终，本文的中心论点依赖于音乐作为政治或殖民主义交流形式的作用，以及音乐如何在理解南非后殖民时期的遗产方面发挥作用。该论文认为，她的热门歌曲“ Not Yet Uhuru”有助于理解该国的“殖民地局势”。因此，本文通过姆布鲁（Mbulu）的抒情内容来解读殖民主义的连续性和不连续性问题。最终，本文的中心论点取决于音乐作为政治或殖民主义交流形式的作用，以及音乐如何在理解南非后殖民时期的遗产方面发挥作用。该论文认为，她的热门歌曲“ Not Yet Uhuru”有助于理解该国的“殖民地局势”。因此，本文通过姆布鲁（Mbulu）的抒情内容来解读殖民主义的连续性和不连续性问题。最终，本文的中心论点取决于音乐作为政治或殖民主义交流形式的作用，以及音乐如何在理解南非后殖民时期的遗产方面发挥作用。