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“Traditional isiXhosa songs are rich in idioms, proverbs and symbolic narratives,” he explains. “They serve as a living archive of history, values and identity.”
At a time when younger South Africans are increasingly educated and entertained in English, Dr Izu’s research asks an urgent question: what happens to a culture when its language starts to fade, and can music help to bring it back to life?
Dr Izu is a Research Fellow in the Languages and Literature Department at Nelson Mandela University in Gqeberha and was formally hosted as a postdoctoral research fellow in the Music and Performing Arts department. His work has now expanded into an interdisciplinary project in collaboration with Dr Zakhile Somlata that bridges music, performance, language and literature.
It tackles issues at the heart of South African higher education: language erosion, cultural preservation and decolonising knowledge.
“I came into this project as an ethnomusicologist, not a linguist,” says Dr Izu. “My work focuses on African musical practices and the ways music carries knowledge, identity and history.”
He believes this crossover enriches both fields. By tracing the links between song and speech, rhythm and narrative, Dr Izu is exploring how traditional isiXhosa music can contribute to the preservation and revitalisation of the language itself.
Collaboration across disciplines
Working alongside linguist Dr Somlata, who is also in the Department of Languages and Literature, Dr Izu’s research brings together musicology and linguistics in a multidisciplinary collaboration.
Dr Somlata’s expertise in isiXhosa structure and semantics complements Dr Izu’s ethnomusicological approach, helping to analyse how words, melody and meaning interact in traditional songs.
Their shared aim is to show that language renewal need not remain confined to classrooms or formal policy. Together, they are documenting how musical forms can nurture linguistic continuity and community pride.
Why isiXhosa needs revitalisation
IsiXhosa, spoken by 8-million South Africans as a first language and another 11 million as a second language, is the country’s second-largest home tongue, after isiZulu.
However, it faces the combined pressures of globalisation and the dominance of English. Oral traditions and cultural expressions are fading. For Dr Izu, this is not only a linguistic issue.
“When a language weakens, the worldview and wisdom it expresses begin to fade too,” he says. “It is not just a tool for communication. It is a vessel for who we are.”
His study highlights how musicians use isiXhosa in their songs to promote intergenerational dialogue and pride. Yet many challenges remain, from limited institutional support to the lack of structured collaboration between musicians and language practitioners.
One language practitioner in the study decried hybrid or inaccurate Xhosa lyrics, saying: “some songs are beautiful musically, but the language is mixed or inaccurate, which confuses young learners.”
Dr Izu and Dr Somlata’s project, Linguistic Revitalisation through Song: Ethnomusicological Approaches to Language Revitalisation within the Xhosa Community in South Africa, explores how traditional music fosters intergenerational language continuity and sustains identity in a changing society.
While existing research has examined music’s social and cultural roles, few studies have focused on its potential to sustain language. Dr Izu’s work addresses this gap by treating music as a direct tool for linguistic revival.
“Revitalisation happens not only in classrooms or policies but also in lived cultural practices,” he notes. “Music connects heritage, education and identity.”
Preliminary findings show that musicians who intentionally use isiXhosa in their songs help to strengthen cultural identity and pride. Youth engagement through traditional and hybrid musical styles increases interest in the language.
But the study also highlights several obstacles: younger audiences often gravitate toward popular genres over traditional isiXhosa music, which they see as old-fashioned. Indigenous musicians and community-led projects receive little funding, reducing the visibility and prestige of isiXhosa as a living language.
Can isiXhosa thrive in hip-hop, amapiano and global genres?
Opportunities for revival
Dr Izu does, however, see reason for optimism. He proposes stronger collaboration between musicians and language custodians, and the inclusion of traditional music in school programmes.
Technology can also play a part. Digital archives, transcription tools and learning apps could help preserve and promote isiXhosa music and language.
“Machine learning and AI tools could make a real difference but they must support the community’s voice, not replace it.”
By combining traditional knowledge with digital innovation, he argues that isiXhosa can gain both reach and relevance.
This collaborative project, which brings together Dr Izu’s research focus and Dr Somlata’s linguistic insight, is among the first to link traditional song directly with linguistic continuity. It complements existing education and policy-based efforts and adds a creative, community-driven approach to language revitalisation.
“Music reminds us that language lives in the body as much as in the mind,” he says. “When people sing in isiXhosa, they are not just performing. They are remembering who they are.”
As one study participant said: “When we sing in isiXhosa, we keep the language alive and pass it on to the next generation, because music carries our stories and our identity.”