Non-Diegetic Characterisation in African Film Music: A Case of Jerusalema and Viva Riva

This study examines how music functions as an autonomous narrative force that creates non-diegetic characters in African cinema, challenging traditional conceptions of film music as mere accompaniment. The research employs qualitative textual analysis methodology to investigate the interplay between music, lyrics, and narrative in two contemporary African crime films: Gangster’s Paradise: Jerusalema (2008) and Viva Riva (2010). Through detailed examination of musical compositions, lyrical content, instrumentation, and socio-historical contexts, this analysis reveals that music operates on two distinct levels of characterisation: explicit characterisation through lyrical personas and implicit characterisation through composers’ socio-political perspectives. The findings demonstrate that musical elements introduce additional narrative agents, including lyrical voices, instrumental motifs, and composers’ ideological imprints, that function as independent characters within the cinematic discourse. These musical characters, exemplified by figures such as the proud mother in Brenda Fassie’s “Vulindlela” and the disillusioned lumberjack in Franklin Boukaka’s “Le Bucheron,” provide socio-cultural commentary that enriches narrative complexity beyond visual storytelling. The study concludes that music in African cinema transcends traditional background scoring to become a vital narrative tool that embeds social memory, cultural identity, and political critique into cinematic expression. This research contributes to African film scholarship by establishing a theoretical framework for understanding music’s characterization potential and advocating for recognizing musicians as implicit narrative collaborators in contemporary African filmmaking.