The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. Sounds John like Jazz Wri- ting for Drum Sounds Magazine, Like 195 -1957 |azz up as a quintessential^ American art form, one :corollary of this assertion i) Jli is" that many people out- <GLEN0ORA REVIEWxAfrican Quarterly on the ArtsxVol3©No3A4> neither to the canons of English decorum nor to apartheid's side the United States imposed tribal ethnicities. have come to know, or at Looking back over the past half-century, it is hard to SGST TO imagine, America through the prism-or rather miss the 'jazz cadence' of the urban black South African he rhythms - of jazz.' Few national settings demonstrated culture that has endured as a poignant countermelody set against the consolidation and, belatedly, the disintegration, his with greater clarity than South Africa in the middle of the of the apartheid state.2 The literature, journalism, images wentieth century, where the music had taken on a life of its and music passed down from the townships of the pre- and own, spawning a distinctive local jazz culture, in the black early apartheid eras are saturated with American references, ownships that fringed segregated cities across the country, quotations and allusions. When the first film produced locally he sounds of swing and bebop were in the air at the very for 'natives' was premiered in 1949, Dolly Rathebe sidled -noment that the newly-installed Afrikaner nationalist govern- onto the silver screen in the persona of a jazz singer, fronting ment was implementing its apartheid policies. As the cultural a locally enlisted big band and singing about "Jo'burg, the asymmetries of British colonialism were overlaid and Golden City" to the tune of Salt Lake City 8/ues.3 America -econfigured by new forms of white domination, many South was invoked in the names of a plethora of local performing Africans of color, especially young people within the rapidly groups like the Harlem Swingstersorthe Manhattan Brothers, xpanding urban middle and working classes, looked to and then there were figures like Emily Kwenane, who not only America for ways of being in a world that could be reduced <GLENDORA REViEWxAfric'an Quarterly on the ArtsxVol3@No3&4> Photographs taken from Drum magazine 1962 <GLENDORA REVtEWxAfrican Quarterty on the ArtsxVol3eNo3&4> SEtETSES CHILDREN 6«0W UP FINE! • GOtOEN NOIR MZZ HOT COOl' Drum magazine, cover pages. ;ang Ella Fitzgerald's numbers but also styled her hair in the lished, in regional editions, in much of anglophone West ;ame manner, and whose fans called her "onse Ella" Central, and East Africa, lending credence to its publishers Afrikaans for 'our Ella'). Jazz trumpeter Hugh Masekela re- claims to being "Africa's leading magazine". Since its demise :alls referring to his idol, Louis Armstrong, in a vernacular as an independent publication in the mid-1960s, the maga- 3rm of endearment that somewhat reverently connotes both a zine has been the object of extensive literary and scholarly ;pecifically African respect for elders and a conjectured inti- commentary. It has also provided music scholars with a nota- macy: ble source of primary historical material, coming to inform And guys like Louis Armstrong we referred, you know, significant portions of existing accounts of black South Afri :e affectionately, as the Old Man, die topi, you know. We can music of the mid-twentieth century. What I will highligh ever said Satch, always said die topi, the Old Man. And here is something that remains implicit in the extant literature. Ice we talked about this and that like we knew them al- Drum's status as perhaps the major progenitor of music 4 tost. historiography pertaining to jazz in South and Southern Af- Rich local reframings of American (or, more accurately, rica, most notably in a series of interviews, reminiscences, vfrican-American) culture like these resonate in numerous and historical pieces written for the magazine by Todd mecdotes, images and quotations bequeathed to history by Matshikiza during the course of the 1950s.5 1950s, many of which were famously memorialized in the A gifted musician and writer who, in former Drum editor ages of the landmark pictorial and literary South African Anthony Sampson's words, "thought and spoke in jazz and iblication first published in March 1951 as The African Drum. exclamation marks," Matshikiza was a figure who would not ifter a somewhat faltering start, Drum went on to be pub- only significantly reshape musical coverage in the fledging <GLENDORA REVIEWxAfrican Quarterly on the Artsxvol3@No3&4> <16 nagazine, but would himself become a major protagonist of African shores as a mass-mediated, recorded commodity he developments about which he wrote. As a musician and seems to have led to some uncertainties about the music' composer, he is perhaps best known for his role in writing the social origins. This is borne out in the words of one columnis nusic for the musical King Kong, which broke new ground for in the black South African newspaper, llanga Lase Nata South African theater in the late '50s, running on London's who noted, with reference to the influence of jazz on blac West End and on Broadway. As a literary figure, Matshikiza youth: "One of our best Native brains has said, 'Let us cop las received relatively little attention from historians and critics from the whiteman [sic] only that which is good', but it appears who have examined the work of the so-called Drum writers, we are also entangling ourselves with his vices."8 where the tendency has been to emphasize the short fiction Early reservations towards jazz such as these graduall' Dublished in the magazine, hereby overlooking his numerous gave way to greater acceptance, though not without this be Feature and review articles (his novel, Chocolates For My Wife, ing rationalized, as Christopher Ballantine has pointed out was published in London inl961). Between joining the with the argument that, as the swing era dawned in the mid- Dermanent staff of Drum in 1951 and 1957, Matshikiza 1930s, it was the music that had changed. Nevertheless, the dominated coverage of music on the magazine's pages, 1930s and '40s saw the consolidation of a social institution eaving a body of historical information that is not only that was central to the establishment of a jazz scene in South empirically valuable in providing extensive information Africa: the so-called "Concert and Dance" parties that took aertaining to South African jazz musicians, but illustrative of place in venues ranging from ramshackle township halls to ivhat one might term the cultural reconstruction of jazz in the fashionable centers such as Johannesburg's Bantu Men's "nilieu about and for which he wrote. Matshikiza's writing, Social Center or the Ritz Palais de Dance. Typically beginning aoth in its content and in the inimitable style which his news- with vaudeville entertainment which ran from 8 p.m. until •oom colleagues dubbed Matshikese, illustrates an interpen- midnight, followed immediately by a dance, the Concert ana stration of journalistic reportage and interpretive elaboration Dance was directly shaped by restrictions on the movements hat can be regarded as emblematic of the emergence of the of urban black South Africans, since the structure of events South African jazz tradition at large. On the pages of Drum, exactly mirrored the curfew hours during which blacks were Matshikiza positioned jazz both as a means of transcending not permitted to be on the streets. Transforming these restric- Nfrican ethnic particularity, and as a means of reclaiming it; tions into an opportunity for recreation and social affirmation, 3S a multivalent marker of both American-derived these parties served, in Ballantine's formulation, as a crucible cosmopolitanism and as a reincarnation of African tradition. in which a black South African jazz tradition, modeled on American culture, emerged in a symbiotic relationship with both locally and internationally oriented theatrical idioms.9 The Concert and Dance The first feature article that Todd Matshikiza wrote for Despite South Africa's marginal position on the rim of the December 1951 edition of Drum, titled 'Twenty Years of vhat is currently labeled (to invoke Paul Gilroy's term) as the Jazz,' enables one to date these developments with Slack Atlantic, people of color in the United States and South considerable precision. In a four-column piece printed along ^frica have in many respects faced comparable social, politi- with a large photograph of himself at the piano, Matshikiza 6 cal and economic predicaments. Given these parallels, over traces local experimentation with jazz-like idioms back to 1928 and above a common African ancestry, it is hardly surprising and dates the appearance of 'the first African jazz band' in hat the cultural expressions of Black Americans should have Johannesburg's music halls and fashionable circles to 1931.10 'esonated with audiences in Southern Africa. Jazz was by no The article also illuminates several important features of the means the first American musical form to have acquired an local jazz tradition as it had taken shape in the decades leading enthusiastic local following in the region/ Some mission-edu- up to the 1950s. To begin with, it cites the role of commercial cated Africans tended, at least initially, to weigh jazz recordings not only as a means of disseminating imported unfavorably against the purportedly elevating effects of per- music but as a surrogate means of apprenticeship for musi- orming Western classical music and Christian choral music cians: [the latter including concert versions of Negro spirituals made The gramophone had made its debut and patterns of Popular by touring minstrel troupes).