The music of South Africa is a vibrant reflection of its multi-ethnic population and culturally diverse musical heritage. From traditional rhythms to modern Afro-pop, South African music has captivated audiences both locally and internationally. Let's delve into the historical roots and evolution of various genres that have shaped the South African music scene.
The Roots of South African Music
Early Influences: Hymns and Gospel
Christianity in South Africa was first introduced in the 1600s with the arrival of Christian missionaries from the Netherlands. Missionaries from the United Kingdom, France, Germany, Scandinavia, and the United States followed in the early 1800s, building churches and missionary schools across the country. Native South Africans who converted to Christianity were taught European and American hymns. Over time, these new Christians began composing their own hymns in African languages.
In the early twentieth century, Zionist Christian churches spread throughout South Africa, incorporating African musical elements into their gospel songs. South African gospel gained popularity in the 1990s, with artists like Rebecca Malope and Lundi Tyamara leading the way.
Traditional Music: A Cultural Cornerstone
Traditionally styled music, often referred to as "Sotho-traditional" or "Zulu-traditional," has been a vital part of the South African music industry since the 1930s. Vocal and concertina records were released featuring a call-and-response style, with the concertina serving as a counterpoint to the lead vocal. The Sotho musician Tshwatlano Makala was the first traditional musician to achieve widespread commercial success.
By the 1970s, the concertina in Sotho-traditional music was replaced by the accordion and an electric backing band. The Zulu people adopted the guitar after its introduction by the Portuguese in the sixteenth century, and guitars were locally and cheaply made by the 1930s. John Bhengu was the first major Zulu guitarist, gaining recognition in 1950s Durban for his unique ukupika style of picking (as opposed to traditional strumming). Bhengu's song format, which includes an instrumental introduction (izihlabo), a melody, and spoken praise (ukubonga) for a clan or family, was widely used in Zulu-traditional music. Later, Bhengu switched to the electric guitar in the late 1960s and began recording as "Phuzushukela" (Sugar Drinker). Since the 1970s, the concertina has returned to Zulu-traditional music, with diverse influences from pop music and drum and bass added.
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The Evolution of Urban Sounds
Marabi: The Sound of the Shebeens
The discovery of gold, diamonds, and other minerals in South Africa during the late 1800s and early 1900s led to rapid urbanization. Black people left their villages to work in the mines and earn a living in the cities. Shebeens, illegal drinking establishments, arose in the black community because black South Africans were forbidden from selling alcohol or entering licensed premises starting in 1927. These shebeens provided a nightlife for people living in the slums, including mineworkers, as it was the only place where people could express themselves freely.
Jazz was the most popular style of music in the urban areas of South Africa at that time, especially in these shebeens. Jazz fused with African traditional music, creating a new style of music called "Marabi," a musical style and dance genre. By the end of the 1920s, marabi music had become wildly popular in the shebeens, despite gaining a sordid reputation. It continued to thrive in the townships around Johannesburg and other major cities.
Pennywhistle Jive (Kwela) and Mbaqanga
In 1962, the South African government launched a development program for Bantu Radio to foster separate development and encourage independence for the Bantustans. Although the government expected Bantu Radio to play folk music, African music had developed into numerous pop genres, and the nascent recording studios used radio to push their pop stars. The first major style of South African popular music to emerge was pennywhistle jive (later known as kwela). Black cattle-herders had long played a three-holed reed flute, adopting a six-holed flute when they moved to the cities. Willard Cele is usually credited with creating pennywhistle by placing the six-holed flute between his teeth at an angle. Groups of flautists played on the streets of South African cities in the 1950s, many of them in white areas, where police would arrest them for creating a public disturbance. Some young whites were attracted to the music, and came to be known as ducktails.
By the 1960s, the saxophone was commonplace in jive music, the performance of which continued to be restricted to townships. The genre was called sax jive and later mbaqanga. Mbaqanga developed vocal harmonies during the very early 1960s when groups including The Skylarks and the Manhattan Brothers began copying American vocal bands, mostly doo wop. Rather than African-American four-part harmonies, however, South African bands used five parts. The Dark City Sisters were the most popular vocal group in the early 1960s, known for their sweet style. Aaron Jack Lerole of Black Mambazo added groaning male vocals to the female harmonies, later being replaced by Simon 'Mahlathini' Nkabinde, who has become perhaps the most influential and well-known South African "groaner" of the twentieth century. Marks Mankwane and Joseph Makwela's mbaqanga innovations evolved into the more danceable mgqashiyo sound when the two joined forces with Mahlathini and the new female group Mahotella Queens, in Mankwane's backing group Makhona Tsohle Band.
Neo-Traditional Music
Tsonga Traditional Music
Tsonga traditional music was first recorded in the 1950s by Francisco Baloyi for Gallo, and showed a largely African style influenced by Latin rhythms. Mozambiquan musicians Fani Pfumo and Alexander Jafete became prominent studio performers in the 1950s and into the next decade. More modern Tsonga bands, such as General MD Shirinda & the Gaza Sisters play a style called Tsonga disco, featuring a male lead vocalist backed by female singers, a guitar, keyboard or synth and disco rhythms. Thomas Chauke & the Shinyori Sisters (Tusk Records) have become probably the best-selling band of any neo-traditional style. George Maluleke na Van'wanati Sisters have also been instrumental in modernizing the music by experimenting with a faster tempo and native instruments.
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The most popular Tsonga musicians, however, has arguably been either Thomas Chauke, the pop singer Peta Teanet or the equally successful Penny Penny, Joe Shirimani. The modern sound of traditional Xitsonga music comprises more of the earlier native sounds that had initially been abandoned in favor of the Portuguese electronic guitars, namely the xylophone and bass marimba. Bands such as Thomas Chauke and the Xinyori Sisters and George Maluleke predominantly used guitars; however the modern sound replaces these with the xylophone or bass marimba.
Venda Traditional Music
Venda-traditional music was also recorded when black music in South Africa was being recognised. The late 1960s (and, more significantly the late 1970s) saw a boom in Venda-speaking artists. Irene Mawela (who had been singing in the 1960s and 1970s with groups like Mahotella Queens, Sweet Sixteens and the Dark City Sisters) significantly impacted traditional and contemporary Venda music, despite vocal recordings in Zulu, Sotho and Xhosa languages. Mawela's 1983 release, Khanani Yanga, was one of the most successful Venda-traditional music albums of that year.
After some lean years, Mawela returned to the South African music scene with Tlhokomela Sera, released in December 2007. Mawela's recent numbers like Mme Anga Khotsi Anga and Nnditsheni are very popular. Alpheus Ramavhea, Mundalamo, Eric Mukhese, and Adziambei Band are also famous for their contributions to Venda music. The latter band still continues to produce music with great success, including a recent album release, Mutula Gole, in February 2012.
Xhosa Traditional Music
Perhaps the best known neo-traditional South African music, internationally anyway, is the music of Amampondo and the solo work of their leader and founder, Dizu Plaatjies. He and his group took traditional Xhosa music from the hills of Pondoland and the Eastern Cape and put it on stage worldwide. The success of the genre was how the exponents combined their music with their stage performances and dance. The great composer Stompie Mavi, who is originally from Nqamakhwe was also very popular during the 1980s and 1990s. His music was inspired by Xhosa rhythms, cultural values and social commentary especially on songs such as Teba and Manyano. Musicians such as Nofinishi Dywili, Madosini, Mantombi Matotiyana and many other women have been on the forefront of traditional Xhosa music.
| Genre | Key Artists | Characteristics |
|---|---|---|
| Sotho-Traditional | Tshwatlano Makala | Call-and-response style, concertina |
| Zulu-Traditional | John Bhengu (Phuzushukela) | Ukupika guitar style, izihlabo, ukubonga |
| Tsonga Disco | Thomas Chauke & the Shinyori Sisters | Male lead vocalist, female backing singers, disco rhythms |
| Venda Traditional | Irene Mawela, Alpheus Ramavhea | Traditional Venda songs |
| Xhosa Traditional | Amampondo, Dizu Plaatjies | Traditional Xhosa rhythms and dance |
Modern South African Music
The Rise of House Music
South Africa's house music scene has produced numerous hits and talented artists. Here are some standout tracks:
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- Black Coffee - "Wathula Nje" ft. Victor Ntoni: A blend of house and jazz with a rubbery bass line, soft percussion, and jazzy piano melodies.
- Culoe De Song - "100 Zulu Warriors": Tribal house with hissing strings and xylophone taps.
- DJ Fresh & Kellex - "Stay Real": A dance floor filler with a slow-moving chord section and an inspiring chorus.
- Kentphonik - "uWrongo": Bass-heavy song featuring Ntsiki Mazwai.
Throwback South African Deep House Mix - OLD SCHOOL
Global Hits from South Africa
South African artists have made a significant impact on the global music scene. Here are a few examples:
- Miriam Makeba - "Pata Pata": A timeless Afro-pop hit known for its infectious rhythm and Makeba's powerful vocals.
- Master KG ft. Nomcebo - "Jerusalema": An Afro-house hit that became a viral sensation with its catchy beat and dance moves.
- Tyla - "Water": A fusion of Afrobeats with pop and R&B elements that became a global sensation.
From its historical roots in traditional styles and gospel to the evolution of jazz, pennywhistle jive, and modern Afro-pop hits, South African music continues to evolve and captivate audiences worldwide. Its rich tapestry of sounds reflects the country's diverse cultural heritage and the creativity of its talented musicians.
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