Abstract:
The Avatime child, like all African children, is born in an atmosphere that is charged with belief in myths, legends and tradition. Cradlesong performances serve as part of the process of enculturation through which the baby is introduced to a combination of music and linguistic behaviour. Women perform these songs for personal and social reasons. Men also perform cradlesongs. Traditionally, most of the songs are acquired aurally from older relatives. Due to social change, certain songs that have no bearing on babies have also been appropriated into the repertoire. Analysis of the selected song texts reveal some of the concerns of women and issues of social interest that make cradlesong performances go beyond trivialities, to a tradition of oral culture that perpetuates musical values and customs of the Avatime.
