Abstract:
Using the refining optics of postcolonial hermeneutics, this paper is an attempt to show how missionary legacies, in the form of musical texts, have been and remain a talisman of imperialistic endeavors. They reflect, as it were, the superiority of the colonizing culture and religion while at the same time demonizing and promoting negative stereotypes about Africans (Mosotho) and their world. Specifically, this paper represents a reconstruction of the image of a colonial African (Mosotho) savage as depicted by the missionaries in their musical texts as contained in the Lifela tsa Sione and Lifela tsa Bakriste, in order to justify the necessity of Christianity as a superior form of life. The flipside of this reconstructive endeavor is the creation of space for the emergence of a voice that had been drowned out by Eurocentricideological hegemony. The release of this voice provides an opportunity to re-label and re-define a Mosotho Christian�s identity through word and song.