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Discover the real South Africa! Sponsored by: South African Adventures The Tea is on Us. Experience Adventure You think you’re ready for a culture shock, then immerse yourself with South Africa’s landscape and culture. DesCnaons from the beaches of East London to the Plateaus of MpumalanGa, South Africa has so many adventures waiCnG to be explored. Safaris by Vehicle or Foot From the safety of your open top vehicle, witness the strenGth and awe of Mother Natures wildlife: -Photo the BiG 5 -RanGer Guided tours -NiGht Tour available! -The best campinG trip you’ll ever have! If the car isn’t darinG enouGh for you, then just take a walk! Guided by expert trekkers, for 4 days you will experience an up, close, and personal vantage point , a true Safari. -Yards from Elephants -Feet from Lions -Inches to somethinG that can’t kill you! For Those of You Less Adventurous… try the wine. If Safari and beaches aren’t your fancy, travelinG the Paarl Wine Route may sasfy your pallet. RanGinG from the Frost Vineyards to SeidelberG Wine Estate various flavors of Grape and cheese will echo the European essence to the North. Have standards? We’ll be sure to direct your aenCon to the finest vineyards and wineries. OfferinG flavors such as Cabernet, Merlot, Shiraz, Chardonnay, Semillon, with rariCes such as Malbec and Chenins. But don’t forGet the Cheese! LonGinG for Music & Culture? Don’t worry…it’s our specialty! • AXend a dinner theater show with Ladysmith Black Mambazo as the lead performance, with historical backGround on how they Got started. • To start off with appeCzers and salad: – Jubilee Brothers in 1891 – Isicathamiya – CompeCnG choirs in the 1920s LonGinG for Music & Culture? Don’t worry…it’s our specialty! • As a main course – Solomon Linda – And his Evening Birds Ladysmith Black Mambazo • And For Dessert: • First heard over a radio broadcast in 1970 • GrowinG in popularity, they would later be endorsed in commercials, films and other arCsts: – 7 UP – Life Savers Candy – IBM – Disney’s The Lion King LINK: Stop at :51 – Paul Simon’s Graceland Homeless Ladysmith Black Mambazo • The Group has devoted itself to the raisinG awareness to South Africa’s culture, as well as intenCons to fund the Music Academy durinG their U.S. tours. • Over Cme, the Group members have come and Gone, with up to 30 different men. HAPPY FREEDOM DAY!!! April 27 & 28 Since 1994, when the people were unified! .

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1. Matome Ratiba
JICLT Journal of International Commercial Law and Technology Vol. 7, Issue 1 (2012) “The sleeping lion needed protection” – lessons from the Mbube ∗∗∗ (Lion King) debacle Matome Melford Ratiba Senior Lecturer, College of Law University of South Africa (UNISA) [email protected] Abstract : In 1939 a young musician from the Zulu cultural group in South Africa, penned down what came to be the most popular albeit controversial and internationally acclaimed song of the times. Popular because the song somehow found its way into international households via the renowned Disney‘s Lion King. Controversial because the popularity passage of the song was tainted with illicit and grossly unfair dealings tantamount to theft and dishonest misappropriation of traditional intellectual property, giving rise to a lawsuit that ultimately culminated in the out of court settlement of the case. The lessons to be gained by the world and emanating from this dramatics, all pointed out to the dire need for a reconsideration of measures to be urgently put in place for the safeguarding of cultural intellectual relic such as music and dance. 1. Introduction Music has been and, and continues to be, important to all people around the world. Music is part of a group's cultural identity; it reflects their past and separates them from surrounding people. Music is rooted in the culture of a society in the same ways that food, dress and language are”. Looked at from this perspective, music therefore constitute an integral part of cultural property that inarguably requires concerted and decisive efforts towards preservation and protection of same from unjust exploitation and prevalent illicit transfer of same.
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Pete Seeger and Intellectual Property Law
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'Women of Mbube: We Are Peace, We Are Strength'
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HISTORY WORKSHOP University Ol the Witwatersrand 1 Jan Smuts Avenue Johannesburg 2001
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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.
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Ladysmith Black Mambazo Study Guide 0809.Indd
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Ladysmith Black Mambazo Notes.Indd
CAL PERFORMANCES PRESENTS ABOUT THE ARTISTS Th ursday, March , , pm ladysmith black mambazo city of Durban, which provided him the oppor- Zellerbach Hall tunity to seek work in a factory. Leaving the fam- Mention African song and most people think of ily farm was not easy, but it was during this time South African practitioners of the vocal arts— that Joseph ﬁ rst showed a talent for singing. After Solomon Linda, Miriam Makeba and, perhaps singing with several groups in Durban, he returned Ladysmith Black Mambazo more than anyone else in recent memory, Ladysmith to his hometown of Ladysmith and began to put Black Mambazo. Ladysmith Black Mambazo has together groups of his own. come to represent the traditional culture of South He was rarely satisﬁ ed with the results. “I felt Africa. Th ey are regarded as South Africa’s cultural there was something missing…. I tried to teach the emissaries at home and around the world. In , music that I felt, but I failed until , when a at Nelson Mandela’s request, Black Mambazo harmonious dream came to me. I always heard the accompanied the future President to the Nobel harmony from that dream and I said ‘Th is is the Peace Prize ceremony in Oslo, Norway. Mambazo sound that I want and I can teach it to my guys.’” sang again at President Mandela’s inauguration in In the early years, Joseph recruited members May . Th ey are a national treasure of the new of his family, and friends—brothers Headman and South Africa, in part because they embody the Jockey, cousins Albert and Abednego Mazibuko traditions suppressed in the old South Africa.
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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.
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