Mixtape Südafrika | Norient.Com 30 Sep 2021 16:34:20 Mixtape Südafrika PODCAST by Thomas Burkhalter

Total Page:16

File Type:pdf, Size:1020Kb

Mixtape Südafrika | Norient.Com 30 Sep 2021 16:34:20 Mixtape Südafrika PODCAST by Thomas Burkhalter Mixtape Südafrika | norient.com 30 Sep 2021 16:34:20 Mixtape Südafrika PODCAST by Thomas Burkhalter Südafrika ist nicht nur ein Land der Gegensätze von Arm und Reich, von Drogenkriminalität, AIDS und 2010 von der Fussball-WM. Südafrika kennt auch eine schier unermessliche musikalische Produktion und Vielfalt. Thomas Burkhalter beginnt seine kommentierte Hörreise durch Südafrika mit traditionellen Gesängen und Rhythmen der Zulu, Xhosa und Venda, lässt die Populärmusik der 1950er und 60er Jahre anklingen, horcht den historischen Reden von Nelson Mandela nach und lässt sie schliesslich in den aggressiven Kwaito-Beats der 1990er Jahre und im südafrikanischen Club-House von heute münden. Der Podcast «Mixtape Südafrika» (von Thomas Burkhalter, produziert für Radio DRS2 und SWR2 Dschungel) startet in den 1930er Jahren mit den Gesängen und Rhythmen der Zulu, Xhosa und Venda. Die San-Buschmänner überraschen mit ihrem typischen Jodelgesang. Wir hören ihre Maultrommeln, Hörner und Signalpfeifen. Die Venda aus dem Nordosten Südafrikas lassen ein komplexes Zusammenspiel erklingen: Sie singen typische Frage- und Antwort-Phrasen, und begleiten sich mit sehr großen und auch kleinen Trommeln, Rasseln, Bambus-Pfeifen und Hörnern. Die Sothos schliesslich improvisieren nicht, sondern singen komponierte Lieder. Man hört den Einfluss der europäischen Kirchmusik, von Chorälen und amerikanischen Gospels. Der Einfluss der Kolonialstaaten und Missionare Die Musik fast aller Bevölkerungsgruppen Südafrikas ist schon früh von fremden musikalischen Stilen beeinflusst worden. 1652 richteten die Holländer in Kapstadt eine Proviantstation ein. Mit ihren Schiffen kamen auch Instrumente und Sklaven an den südlichsten Zipfel Südafrikas. Schon bald begleiteten etwa die Khoi, die Viehzüchter der Gegend, ihre Lieder mit europäischen Gitarren und asiatischen Saiteninstrumenten. Die Sklaven stammten nämlich aus Java, Sri Lanka, Malaysia und Madagaskar. In der Musik Südafrikas hören wir diese verschiedensten Einflüsse immer wieder: In der Country-Musik der holländischen Buren zum Beispiel oder in den Jazz- Balladen von den Beam Brothers. Oder bei Willie Gumeda mit seiner https://norient.com/podcasts/mixtapesuedafrika Page 1 of 5 Mixtape Südafrika | norient.com 30 Sep 2021 16:34:20 Concertina Band 1945. Die Konzertina – ein kleines Akkordeon – war mit schottischen Missionaren nach Südafrika gekommen. Europäische Missionare veränderten das Musizieren grundlegend. Vorher war meist gemeinsam improvisiert worden. Jetzt bildeten die Missionare an ihren Schulen Komponisten aus. Diese arrangierten die Gesänge der verschiedenen Volksgruppen neu und durchsetzten sie mit Harmonien: Wir hören die neue südafrikanische Chor Musik zum Beispiel von der Mhluzi Choral Society. Oder in der Originalaufnahme von Mbube (der Löwe) von 1939. Hier war der Einfluss der vielen nordamerikanischen Minstrel-Sänger, Gospel-Gruppen und Ragtime Pianisten prägend, die schon damals durch Kapstadt, Johannesburg und Durban tourten. «Dieses Lied kommt aus Südafrika», erklärt der amerikanische Folk-Sänger Pete Seeger seinem Publikum in einer Konzertaufnahme. Er nahm Mbube 1950 auf. Nach der Version von Pete Seeger wurde Mbube noch rund 200 mal gecovert. Erst 2006 haben es die Kinder des verstorbenen Sängers des Originals, Solomon Linda, geschafft, ihre Urheberrechte geltend zu machen. Sie gewannen einen Rechtsstreit mit dem Walt Disney Konzern, der Mbube im Film Der König der Löwen verwendet hatte. Der Mbaqanga-Jive der 1950er Jahre In den 1950er Jahren wurde die städtische Musik immer populärer und breitete sich im ganzen Land aus. Aus dem Township Soweto bei Johannesburg klang der Mbaqanga-Jive. Diese Musik brachte Jazz, Soul, Funk und Rumba scheinbar mühelos zusammen. Bald entstand daraus der berühmte Saxofon-Jive Südafrikas. Er wurde in den Kneippen der Townships gespielt – abseits von der weissen Gesellschaft. Proteste gegen das Apartheid-Regime Ab den späten 1960er Jahren wurde die Protestbewegung der unterdrückten Schwarzen gegen das Apartheid-Regime immer stärker. Die Regierung schlug mit blinder Gewalt zurück. Berühmte Musikerinnen und Musiker flohen ins Exil oder kehrten von Ausland-Tourneen nicht mehr zurück: So die Sängerin Miriam Makeba, der Trompeter Hugh Masekela und der Pianist Abdullah Ibrahim. Im Podcast «Mixtape Südafrika» hören wir die Rede, die Nelson Mandela 1964 vor Gericht gehalten hatte, bevor er für 27 Jahre ins Gefängnis gesteckt wurde: «Ich habe sowohl gegen die weiße als auch gegen die schwarze Dominanz gekämpft. Eine freie demokratische Gesellschaft, das ist das Ideal, für das ich zu leben wünschte. Ich bin auch bereit, für dieses Ideal zu sterben.» Aber auch Teile der weißen Minderheit protestierten: Die Gruppe «Illegal Gathering» sang ihre kritischen Lieder in Afrikaans, der Sprache der herrschenden Buren, wurde aber vom nationalen Radio boykottiert. Der Liedtext hinterlässt allerdings zwiespältige Gefühle: «Ich bin total verloren. Ich verschwende meine Jugend mit Krieg» heisst es dort. Dann aber gibt der Sänger zu, dass er den Befehlen seines Korporals gehorchen werde. Das sei allerdings seine Pflicht, nicht seine Wahl. Am 2 Februar 1990 schliesslich hob https://norient.com/podcasts/mixtapesuedafrika Page 2 of 5 Mixtape Südafrika | norient.com 30 Sep 2021 16:34:20 der weisse Präsident De Klerk in einer historischen Rede das Verbot des ANC und anderer politischer Parteien auf und kündigte an, er werde politische Gefangene freilassen. Die Post-Apartheid Ära Nach dem Ende der Apartheid sprossen schwarze Radiostationen und Plattenlabels wie Pilze aus dem kulturell fruchtbaren Boden Südafrikas. Kwaito wurde zur Musik, die den schwarzen Lebensstil in den Townships am besten verkörperte. Kwaito basiert meistens auf verlangsamten House-Beats und auf Rap in verschiedenen schwarzen südafrikanischen Sprachen und dem Slang der Townships – Englisch wird nur ganz selten verwendet. Dazwischen geflochten sind immer wieder südafrikanische Melodien und Schlagzeugpartien. Musiker und Fans betonen die Eigenständigkeit des Genres und sehen die Wurzeln des Kwaito in der schwarzen populären Musik der 1950er Jahre – so wie wir sie gehört haben. Einer der Stars des Kwaito war und ist Mandoza: Dank seiner aggressiven Stimme und seinen knüppelharten Beats! Andere Stars sind Zola, Mzekezeke und DJ Cleo. Heute argumentieren die Kritiker, Kwaito sei heute von der Werbeindustrie vereinnahmt worden und darum bloß noch kommerziell. Die Anti-Apartheid- Kämpfer der 1970er und 80er Jahren vermissen oft die politische Botschaft. Die Jugend aber sieht das anders: Jahrelang war man von Reichtum und Entwicklung ausgeschlossen, jetzt will man möglichst schnell möglichst viel Geld verdienen und der Armut entfliehen. Es gibt noch einen weiteren Streit: Ist Kwaito eine eigenständige südafrikanische Musik oder bloss eine Variante des globalen Rap? Für die Kwaito-Musiker ist klar: Kwaito ist Südafrika pur, mit all den Einflüssen aus der Musik Südafrikas der 1950er bis 80er Jahre. Fazit Die neue Musik Südafrikas greift vielfältig auf das kulturelle Erbe zurück und die Szene kann sich auf eine breite lokale Musikindustrie stützen – anders als in anderen afrikanischen Ländern. Natürlich gibt es da viel Kommerz, aber es existieren auch viele kleine Labels, freie Radio- und TV-Stationen sowie unabhängige Medien und Internet-Plattformen. Gerade wenn man befürchtet, das Land ersticke seine traumatischen Erinnerungen und seine Zukunftssorgen nun endgültig in übertriebenem Kaufrausch und kommerzieller Musik, taucht immer wieder eine neue Stimme auf. Zum Beispiel die Gruppe Die Antwoord oder viele andere. → Playlist 1. La Mouche Bushmen Juóansi From Namibia CD: Bushmen Juóansi https://norient.com/podcasts/mixtapesuedafrika Page 3 of 5 Mixtape Südafrika | norient.com 30 Sep 2021 16:34:20 2. Zulu Songs Accompanied By The Musical Bow «Ugubhu» Sung And Played By Princess CD: Music! 100 Years Of The Berlin Phonogramm-Archiv (Disc 2) 3. Zone Conservaroire Bushmen Juóansi From Namibia CD: Bushmen Juóansi 4. Venda Horn Song CD: Ancient Civilisations Of Southern Africa 2: Tribal Drums Of The Venda People 5. Tlholwe Le Mutle Serankure Music Arts (Tswana) CD: Ancient Civilisations Of Southern Africa 6. Umgoboti Gumede, Willie Concertina Band CD: Echoes Of Africa: Early Recordings 7. Hoe Ry Die Boere Shimon Ash CD: Songs Of South Africa – Sung In Afrikaans 8. Thina Laphe Emzini Mhluzi Choral Society CD: African Renaissance – Volume 05 – Ndebele (Disc 1) 9. Mbube Solomon Linda And Evening Birds CD: Zulu Choral Music 10. Ngaleyo Mini Beam Brothers CD: African Renaissance – Volume 01 – Zulu (Disc 2) 11. Setimela Basadi Ba Thabakgolo CD: African Renaissance – Volume 03 – Ndebele (Disc 2) 12. Reasonable Men Kalahari Surfers CD: Shotdown: Resistance Music From Apartheid South Afrika 13. WOZA ANC Freedom Choir (Acfc) CD: The Winds of Change 14. Hou My Vas Korporaal Illegal Gathering CD: Shotdown: Resistance Music From Apartheid South Afrika 15. Nkosi Sikelel’ iAfrika Tumela Maloi CD: The Winds Of Change 16. Unbanning Speech F.W. De Klerk CD: The Winds Of Change 17. Inauguration Speech Nelson Mandela CD: The Winds Of Change https://norient.com/podcasts/mixtapesuedafrika Page 4 of 5 Mixtape Südafrika | norient.com 30 Sep 2021 16:34:20 18. Masadzi Wa Tshikuma Chicco CD: South Afrika Rhythm Riot 19. Phunyuka Bamphethe Mandoza CD: Phunyuka Bamphethe 20. Xhikwembo Gurash CD: DaladalaSoundz Uptown Joji 21. Emgungundlovu Zulu Boy CD: Masihambisane 22. Mugwanti Mujava CD: Ayobaness! The Sound Of South African House Diese Sendung wurde ausgestrahlt
Recommended publications
  • The Characteristics of Trauma
    DIPLOMARBEIT Titel der Diplomarbeit „Music and Trauma in the Contemporary South African Novel“ Verfasser Christian Stiftinger angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2011. Studienkennzahl lt. Studienblatt: A 190 344 Studienrichtung lt. Studienblatt: UF Englisch Betreuer: Univ. Prof. DDr . Ewald Mengel Declaration of Authenticity I hereby confirm that I have conceived and written this thesis without any outside help, all by myself in English. Any quotations, borrowed ideas or paraphrased passages have been clearly indicated within this work and acknowledged in the bibliographical references. There are no hand-written corrections from myself or others, the mark I received for it can not be deducted in any way through this paper. Vienna, November 2011 Christian Stiftinger Table of Contents 1. Introduction......................................................................................1 2. Trauma..............................................................................................3 2.1 The Characteristics of Trauma..............................................................3 2.1.1 Definition of Trauma I.................................................................3 2.1.2 Traumatic Event and Subjectivity................................................4 2.1.3 Definition of Trauma II................................................................5 2.1.4 Trauma and Dissociation............................................................7 2.1.5 Trauma and Memory...……………………………………………..8 2.1.6 Trauma
    [Show full text]
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
    [Show full text]
  • Identity, Nationalism, and Resistance in African Popular Music
    Instructor: Jeffrey Callen, Ph.D., Adjunct Faculty, Department of Performing Arts, University of San Francisco SYLLABUS ETHNOMUSICOLOGY 98T: IDENTITY, NATIONALISM AND RESISTANCE IN AFRICAN POPULAR MUSIC How are significant cultural changes reflected in popular music? How does popular music express the aspirations of musicians and fans? Can popular music help you create a different sense of who you are? Course Statement: The goal of this course is to encourage you to think critically about popular music. Our focus will be on how popular music in Africa expresses people’s hopes and aspirations, and sense of who they are. Through six case studies, we will examine the role popular music plays in the formation of national and transnational identities in Africa, and in mobilizing cultural and political resistance. We will look at a wide variety of African musical styles from Congolese rumba of the 1950s to hip-hop in a variety of African countries today. Readings: There is one required book for this course: Music is the Weapon of the Future by Frank Tenaille. Additional readings are posted on the Blackboard site for this class. Readings are to be done prior to the week in which they are discussed Listenings: Listenings (posted on Blackboard) are to be done prior to the week in which they are discussed. If entire albums are assigned for listening, listen to as much as you have time for. The Course Blog: The course blog will be an important part of this course. On it you will post your reactions to the class listenings and readings. It also lists internet resources that will prove helpful in finding supplemental information on class subjects and in preparing your final research project.
    [Show full text]
  • 'Women of Mbube: We Are Peace, We Are Strength'
    Music News Release: for immediate use ‘Women of Mbube: We are peace, we are strength’ - New Album from Nobuntu “… joy seems central to Nobuntu's existence: it's present in their glorious singing, their expressive dancing, even in their dress - plaids, stripes, florals in colours as exuberant as their vocals.” cltampa.com Album: Obabes beMbube (‘Women of Mbube’) Artists: Nobuntu Genre: African Mbube Speciality: Female a cappella group Language: Ndebele Label: 10th District Music/Zimbabwe Release: 24 November, 2018 It takes courage, persistence and a great deal of talent to create new songs in a genre of already impeccable standards. Zimbabwean five-piece, Nobuntu are blessed with all three. ‘Obabes beMbube’ is Nobuntu’s new 13-song album of mbube music sung in Ndebele celebrating life, nature, divine inspiration and the power of music as a healing force. Five strong female voices beautifully blended singing a cappella harmonies. ‘Obabes beMbube’ builds on the success of ‘Thina’ and ‘Ekhaya’ which were released in 2013 and 2015 respectively. The music represents a bold shift from the previous bodies of work which featured a fusion of afro jazz, a cappella, gospel and traditional folk tracks. The album name ‘Obabes beMbube’ is Ndebele for ‘women of mbube’, an assertion of Nobuntu’s position as a musical force in a genre that is traditionally a male domain. Mbube (Zulu for ‘lion’, pronounced ‘eem-boo-bay’) was released as the song (‘The Lion Sleeps Tonight’) ‘Mbube’ written by Solomon Linda in Johannesburg and released through Gallo Record Company in 1939. ‘Mbube’ became a UK and USA #1 hit single in 1969 by the Tokens – and is now the name widely used for the South African a cappella genre, mbube.
    [Show full text]
  • HISTORY WORKSHOP University Ol the Witwatersrand 1 Jan Smuts Avenue Johannesburg 2001
    r\- y /"> UNIVERSITY OF THE WITWATERSRAND HISTORY WORKSHOP University ol the Witwatersrand 1 Jan Smuts Avenue Johannesburg 2001 THE MAKING OF CLASS 9-14 February, 1987 AUTHOR: V. Erlmann TITLE: "Singing Brings Joy To The Distressed" The Social History Of Zulu Migrant Workers' Choral Comnetions 1. INTRODUCTION The crucial role played by the system of cheap migrant labor as the backbone of South African capitalism is reflected in an extensive literature. However, this rich academic output con- trasts with a remarkable paucity of studies on migrant workers' consciousness and forms of cultural expression. Among the reasons for this neglect not the least important is the impact of the South African system of labor migration itself on the minds of scholars. Until at least the 1950s, the prevailing paradigm in African labor studies has been detribalization (Freund 1984:3) Since labor migration - so the argument went - undermined tradi- tional cultural values and created a cultural vacuum in the bur- geoning towns and industrial centers of the subcontinent, neither the collapsed cultural formations of the rural hinterland nor the urban void seemed to merit closer attention. The late 1950s some- what altered the picture, as scholars increasingly focused on what after all appeared to be new cultural formations in the cities: the dance clubs, churches, credit associations and early trade unions (Ranger 1975, Mitchell 1956). This literature em- phasized the ways in which the urban population attempted to com- pensate for the loss of the rural socio-economic order in "retribalizing", restructuring the urban forms of social interac- tion along tribal lines.
    [Show full text]
  • From Mbube to Wimoweh: African Folk Music in Dual Systems of Law
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Fordham University School of Law Fordham Intellectual Property, Media and Entertainment Law Journal Volume 20 Volume XX Number 1 Volume XX Book 1 Article 5 2009 From Mbube to Wimoweh: African Folk Music in Dual Systems of Law Deborah Wassel Fordham University School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Deborah Wassel, From Mbube to Wimoweh: African Folk Music in Dual Systems of Law, 20 Fordham Intell. Prop. Media & Ent. L.J. 289 (2009). Available at: https://ir.lawnet.fordham.edu/iplj/vol20/iss1/5 This Note is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. From Mbube to Wimoweh: African Folk Music in Dual Systems of Law Cover Page Footnote I would like to thank the incredible editors and staff of the IPLJ for their hard work, as well as Professor Tracy Higgins, without whose expertise this Note would not be possible. A special thanks to my parents and sister, whose endless love and support gave me the strength and drive to finish. Finally, I am grateful to Dan for everything—I couldn’t have done any of this without you.
    [Show full text]
  • Producing Africa at the New Orleans Jazz & Heritage Festival
    Producing Africa at the New Orleans Jazz & Heritage Festival Helen A. Regis he gangly teenager in the black frame glasses also Smith, this issue). Davis is one of only two white men who saunters up to the camera with a lively step. His appear in the Osborn film. His is thus a notable presence in a image flashes across the screen then is gone (Fig. documentary whose major actors, cultural historians, carnival 1). But the laughter in the audience suggests experts, and cultural workers are all African American. In docu- something else. I thought I recognized the young mentary films about black culture, white faces are more likely man, but I wasn’t sure, so I asked the filmmaker to appear as the historians or other experts than as the research later. In a broad, knowing smile, he confirmed my speculation. subjects. Osborn’s film cleverly reverses the gaze with this wink TBut did everyone in the room recognize him too? Or were they at documentary filmmaking tradition. Davis’s cameo as a wiry laughing because of the incongruity of his presence? What is this young second liner arouses knowing smiles among the viewers white young man doing here, among the deeply etched faces and of the film who know this history. Decades later, Davis would had often never met him. The personalization of the festival in the 1 Quint Davis circa 1963, marching with the Eureka Brass Band. dignified dance steps of the African American elders leading the become the producer of one of the most successful music festi- figure of one person, of course, erases the complexity
    [Show full text]
  • Ladysmith Black Mambazo Study Guide 0809.Indd
    2008-2009 Season SchoolTime Study Guide Ladysmith Black Mambazo Friday, March 13, 2009 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, March 13, 2009, at 11 am, your class will attend a performance of South Africa’s most renowned vocal group, Ladysmith Black Mambazo. Founded in the early 1960s by South African visionary singer and activist Joseph Shabalala, Ladysmith Black Mambazo is considered a national treasure in their native country. The group has revolutionized traditional South African choral-group singing with their distinctive version of isicathamiya (Is-cot-a-MEE-ya), which comes from the powerfully uplifting songs of Zulu mine workers popularized during the apartheid era. Using This Study Guide This study guide will help engage your students with the performance and enrich their fi eld trip to Zellerbach Hall. Before coming to the performance, we encourage you to: • Copy the student resource sheet on page 2 & 3 and hand it out to your students several days before the show. • Discuss the information on pages 4- 5 about the performance and the artists with your students. • Read to your students from the About the Art Form on page 6 and About South Africa sections on page 8. • Engage your students in two or more of the activities on pages 11-12. • Refl ect with your students by asking them guiding questions, which you can fi nd on pages 2, 4, 6 & 8. • Immerse students further into the art form by using the glossary and resource sections on pages 12-13. At the performance: Your students
    [Show full text]
  • University of Zululand Master of Music
    UNIVERSITY OF ZULULAND INDIGENOUS FEATURES INHERENT IN AFRICAN POPULAR MUSIC OF SOUTH AFRICA A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the department of Music at the University of Zululand by THULASIZWE NKABINDE DECEMBER 1997 INDIGENOUS FEATURES INHERENT IN POPULAR MUSIC OF SOUTH AFRICA SUPERVISOR: PROF MK XULU DECLARATION The whole of this work is a product of my original thought and research. Where the contrary is found that willl always be acknowledged in full. THULASIZWE NKABINDE ACKNOWLEDGMENTS I would like to express my gratitude to Professor Musa ~IU for his patience, advice and guidance, without which this project would have been all the more difficult. My deepest appreciate goes to my father, Mr. Gibson Siyabonga Nkabinde, my wife Beauty and all my children, Khayelihle, Phelelani and Banele for all their support and encouragement, and to Ms Brenda Trimmel for her endless hours of typing and perfectionist care in the format of this project. I would also like to thank all those people who, in one way or another, made this project reach completion. They are: Professor Joseph Bhekizizwe Shabalala of the Ladysmith Black Mambazo, Marks Mankwane of the Makgona Tsohle Band, Mahlathini and the Mahotella Queens, Yvonne Chaka Chaka, Simon Buthelezi, Bongani Hlatshwayo, Print and Electronic Media, the entire SABC staff and the SABC Choristers, not forgetting the enormous support from the audience, the music lovers. DEDICATION This thesis is dedicated to my late mother Mrs Thembakuye Nkabinde who gave me all the support to pursue my career. ABSTRACT The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms.
    [Show full text]
  • PR South Africa Vocal Tradition One-Sheet.Indd
    UBUNTU UBUNTU UBUNTU UBUNTU UBUNTU UBUNTU UBUNTU UBUNTU Festivals MUSIC AND ARTS MUSIC Luis Leal Luis UBUNTU Ladysmith Black Mambazo Vocal and Choral Traditions of OF SOUTH AFRICA SOUTH OF South Africa While South Africa’s regional and ethnic di erences result in an exhilarating diversity of sounds, one unifying element among the nation’s music is a powerful focus on the voice. In South Africa, vocal and choral music arises from many di erent origins, including sacred music, work settings, and the anti-Apartheid protest movement of the 20th century. In the 1920s, a cappella vocal styles became identifi ed with an emerging Zulu working class—rural migrant men who left their families behind to work in mines and factories. After a six-day work week, the men developed a social life on Sundays that involved vocal and dance competitions between the di erent hostels where they were living. The fi rst of these vocal styles, mbube (“the lion”), featured a high-voiced lead against a four-part harmony. It was named after the fi rst African recording to sell 100,000 copies: Solomon Linda’s Original Evening Birds’ 1939 song “Mbube,” which later formed the foundations of the American hits “Wimoweh” by The Weavers in 1951 and “The Lion Sleeps Tonight” by The Tokens in 1961. A later style of Zulu men’s a cappella singing is isicathamiya—a word derived from the Zulu verb cathama, which means “walking softly” or “tread carefully.” The leading proponent of this style is Ladysmith Black Mambazo, a group formed in the early 1960s by Joseph Shabalala that went on to win numerous singing competitions in South Africa before rising to international prominence in the mid-1980s after appearing on Paul Simon’s legendary Graceland album.
    [Show full text]
  • Music SA Music
    URBAN SOUTH AFRICAN MUSIC Listed below are some terms and their definitions which are useful in the study of South African urban music styles. Thereafter follows a list of references and recommended reading. Ceri Moelwyn-Hughes St Mary’s School, Waverley March 2016 KEY WORDS AND DEFINITIONS Please note: urban South African music styles/genres stipulated in the IEB Grade 12 syllabus are highlighted. A few particularly important key words are given lengthier explanations. In addition, some general musical terms and others more associated with ‘traditional’ South African music are also included. Such musical characteristics can be present in urban and popular musical forms. a cappella sung without instrumental accompaniment acculturation explains the process of cultural change that results following the meeting of cultures This term is primarily used to describe the adjustments and adaptations made by minority groups such as immigrants, refugees and indigenous peoples in response to their contact with the dominant majority group. ‘Americanisation’ the post-World War II period in South Africa was a time in which South African culture was strongly shaped by American music, film, and other forms of entertainment, spread largely through the mass media apartheid system of laws that forced people of different cultural and language backgrounds to live in separate places, and be treated unequally and often unjustly before the law in South Africa (1948-1990) appropriate an important concept in the study of world music—pronounced in one way and used
    [Show full text]
  • Ladysmith Black Mambazo & Vusi Mahlasela
    Ladysmith Black Mambazo & Vusi Mahlasela Study Guide Table of Contents 1. Welcome ...................................................................................3 2. Theater Etiquette ....................................................................4 3. Unit-Long Understanding Goals ............................................5 Each section includes questions for understanding (at the beginning) and exercises (at the end). These can be used to help students integrate the material presented into subjects they are already studying in the classroom, and are designed to meet some of the requirements of the Reading/Language Arts Framework and Visual and Performing Arts Content Standards for California Public Schools.* 4. About the SchoolTime Program .............................................7 5. About the Artists .....................................................................8 6. About the Art Form: Isicathamiya .......................................17 7. History: South Africa ...........................................................23 8. Teacher Evaluation Form .....................................................28 9. Student Evaluation Form .....................................................29 * Material contained in this Study Guide can be used to implement lessons that meet the Visual and Performing Arts content standards for California public schools. A full list of VAPA standards and content standards for related disciplines such as history and social studies can be found on line at: http://www.cde.ca.gov/be/st/ss/index.asp
    [Show full text]