if ukhuluma ngoku"diphothwa", angifuni kuzibambisa ngamapholisa "linguistically" because ngehluleke ukukhuluma ulimi olu"south african" by using words such as "ezika", iframatshina,ukhulu,sengi-instead of (sengika-), inyembezi(izinyembezi), i castle(i khasela), phansi/downside(ezansi) etc!!! i discovered ukuthi spoken zulu is no way near spoken ndebele ngoba amagama amanengi awesindebele are spoken "khalanga-lly" hence one has to adapt!! 1, 2. Kungani kungafanele sibeke uJehova icala ngezinkinga zesintu? Fanekisa. This is a call to all of us because Matotiyana, even if from Xhosa descent her music tramples those limitations. In many ways her music unshackles itself from the boundaries that are created by categorization. Like Mackey often suggests, Matotiyana’s work must be set free from the idea of genre which is usually an ‘impediment to social and aesthetic mobility’. Nathaniel Mackey ‘Paracritical Hinge’ at pg 368 on Fischlin, D., & Heble, A. (2004). The other side of nowhere: Jazz, improvisation, and communities in dialogue. Middletown, Conn: Wesleyan University Press. Matotiyana’s uhadi has travelled throughout Africa as ugubhu of the Zulu people and thomo for the South Sotho people, therefore how dare do we lock it within a particular locale or culture? We must allow it to ‘promote embodied interaction and dialogue between people with disparate personal and cultural histories’. Jason Stanyek ‘Transmissions of an Interculture: Pan-African Jazz and Interculture Improvisation’ at pg 87 on Fischlin, D., & Heble, A. (2004). The other side of nowhere: Jazz, improvisation, and communities in dialogue. Middletown, Conn: Wesleyan University Press. After all, the issues she raises are issues that we as people in the margins are all grappling with. There is an undisputable commonality and relation between us that Songs of Greeting, Healing and Heritage seem to be addressing.