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Mbaqanga
Mbaqanga () is a style of South African music with rural Zulu roots that continues to influence musicians worldwide today. The style originated in the early 1960s. History Historically, laws such as the Land Act of 1913 to the Group Areas Act (1950) initially prevented black South Africans from integrating from different tribal communities, consequently making it almost impossible for most black native music artists to gain recognition beyond their tribal boundaries. The music genre mbaqanga developed during this time (1960s) and to this day most of the major record labels are white-owned companies with very few black artists that have contributed to their own material. In Zulu, the term ''mbaqanga'' means an everyday cornmeal porridge. ''Mbaqanga'' aficionados were mostly plebeian, metropolitan African jazz enthusiasts. Many of them were not permitted to establish themselves in the city, but they were unable to sustain themselves in the rural country. ''Mbaqanga'' gave them ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahlathini And The Mahotella Queens
Mahlathini and the Mahotella Queens (also known as Mahlathini Nezintombi Zomgqashiyo and Mahlathini and the Girls of Mgqashiyo) were a South African ''mbaqanga'' Supergroup (music), supergroup made up of the three musical acts linked together by talent scout and record producer Rupert Bopape at the Gallo Recording Company in Johannesburg, South Africa in 1964. The group composed of the following three distinct parts: * The late Mahlathini, Simon "Mahlathini" Nkabinde (1937–1999), a "powerful singer" in the ''basso-profundo'' "groaning" style. * The girl group the Mahotella Queens (1964–present), the classic line up being the threesome, Hilda Tloubatla, Nobesuthu Mbadu and Mildred Mangxola. Still recording and performing internationally, the trio are noted for their distinct vocal harmony sound alternating between multi-part harmonies and unison vocals, guitar-led mbaqanga music, and fast stage dancing. * The instrumental band, the Makgona Tsohle Band (1964–1999), that is no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahlathini
Simon "Mahlathini" Nkabinde (1937 or 1938 – 27 July 1999) was a South African ''mbaqanga'' singer. Known as the "Lion of Soweto", Nkabinde is the acknowledged exponent of the deep-voiced, basso profundo "groaning" style that came to symbolize mbaqanga music in the 1960s. Nkabinde was also a very active live performer in South Africa, recording and performing with the Mahotella Queens and the backing Makgona Tsohle Band from 1964 to 1971, and then again from 1983 to 1999. The Mahlathini and the Mahotella Queens act was propelled into international stardom in the wake of Paul Simon's 1986 '' Graceland'' album. Early career and life Nkabinde was born in Newcastle, KwaZulu-Natal and grew up in Alexandra, Gauteng. As a young boy, he began leading isicathamiya and mbube choirs at traditional Zulu wedding ceremonies. By the time he was a teenager, Nkabinde's voice was much admired. During the early 1950s, however, his voice became strained and was reduced to a growl. Initially, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaiva
Jaiva, Township jive (TJ), Soweto jive, Soweto sound or Soweto beat is a subgenre of South African township music and African dance form that influenced Western breakdance and emerged from the shebeen culture of the apartheid-era townships. Influences and particularity While closely associated with mbaqanga, township jive more broadly incorporates influences from mariba and kwaito, and is synonymous with none of these. To the extent that mariba influences TJ, it may be somewhat sanitised as TJ broke into the international commercial arena. Emergence in world music circles The Boyoyo Boys received additional press coverage when Malcolm McLaren allegedly plagiarised their song "Puleng" and released it as the hit " Double Dutch", capitalising on the emergence of breakdance and hip-hop.Ambrose Ehirim, Sunday, 9 December 2007, The Boyoyo Boys and Township Jive Today , http://magazine.biafranigeriaworld.com/ambrose-ehirim.html Additional momentum for world beat attention to So ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahotella Queens
The Mahotella Queens is a South African female band formed in 1964 by music producer Rupert Bopape, consisting of Hilda Tloubatla, Nobesuthu Mbadu, and Amanda Nkosi. The group is noted for their distinct vocal harmony sound, guitar-led mbaqanga music, and fast stage dancing. Bopape was a talent scout and producer at the independent Gallo Africa's subsidiary dedicated to black music, Mavuthela Music Company. He formed the Mahotella Queens as the company's resident girl group and the ensemble, often led by the deep-voiced male vocals of Simon 'Mahlathini' Nkabinde, went on to have many hit records during the 1960s. The Queens line-up during this period usually comprised Hilda Tloubatla, Juliet Mazamisa, Ethel Mngomezulu, Nobesuthu Mbadu and Mildred Mangxola. The Queens and Mahlathini were backed by Mavuthela's house band, the Makgona Tsohle Band (including Marks Mankwane on lead guitar and West Nkosi on alto saxophone). In 1972 the line-up of the Mahotella Queens disintegr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Makgona Tsohle Band
The Makgona Tsohle Band was a South African instrumental band that is noted for creating the mbaqanga music style. Mbaqanga is an acculturated popular South African music that emerged in the 19th century. Mbaqanga is also referred to as township jive. The group was formed in 1964 at Mavuthela (the 'black music' division of Gallo Record Company), and became the Mavuthela house band. It garnered success by backing fellow Mavuthela-Gallo stars, Mahlathini and the Mahotella Queens. It is often referred to as the South African equivalent to Motown's The Funk Brothers. History Origins: 1956 – 1964 The individual band members were all domestic workers from Pretoria. West Nkosi, born in Nelspruit in 1940, was sent to live with his grandfather in Pretoria at the age of 16 to find employment.Allingham, R: Liner notes, '' Mathaka Vol 1''. Gallo Record Company, November 2007 Nkosi found work as a market porter, and then as a house servant, in 1957. During his off-hours, Nkosi played m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gallo Record Company
Gallo Record Company is the largest (and oldest independent) record label in South Africa. It is based in Johannesburg, South Africa, and is owned by Arena Holdings. The current Gallo Record Company is a hybrid of two South African record labels, rivals between the 1940s and 1980s: the original Gallo Africa (1926–85) and G.R.C. (Gramophone Record Company, 1939–85). In 1985 Gallo Africa acquired G.R.C.; as a result, Gallo Africa became known as Gallo-GRC. Five years after the acquisition, the company was renamed Gallo Record Company. History Eric Gallo set up a one-man business, the Brunswick Gramophone House, in 1926. The record shop was originally devised to distribute records from the US-based Brunswick Records into South Africa. However, noticing the lack of recording facilities (as well as the amount of local talent) in the country, Gallo decided to form a recording studio in 1932 and, borrowing equipment (and a sound engineer) from the then just-defunct Metropole compa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dark City Sisters
The Dark City Sisters were a South African female vocal group formed in 1958 by music producer Rupert Bopape. They recorded several hit records during the 1960s, helping usher in the mbaqanga style of South African music later brought to global prominence by the Mahotella Queens. The Sisters were formed by Bopape, also a talent scout, at EMI South Africa. The group was named after Alexandra Township, known at the time as "Dark City" due to its lack of street lighting. The early line-up included Joyce Mogatusi, Francisca Mngomezulu, Irene Mawela, Hilda Mogapi, Kate Olene, and Esther Khoza. The group's close harmonies were often combined with a single male vocalist, at a time when most bands consisted of a female lead backed up by a group of men. In their early days the Sisters were fronted by vocalist Jack Lerole Aaron "Big Voice Jack" Lerole (c. 1940 – 12 March 2003) was a South African singer and penny whistle player. Lerole was a leading performer in the kwela music of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marabi
Marabi is a style of music that evolved in South Africa over the last century. The early part of the 20th century saw the increasing urbanisation of black South Africans in mining centres such as the gold mining area around Johannesburg - the Witwatersrand. This led to the development of township slums or ghettos, and out of this hardship came forth new forms of music, marabi and kwela amongst others. Marabi was the name given to a keyboard style (often using cheap pedal organs) that had a musical link to American jazz, ragtime and blues, with roots deep in the African tradition. Early marabi musicians were part of an underground musical culture and were typically not recorded. Indeed, as with early jazz in the USA, the music incurred the displeasure of the establishment. Nonetheless, as with early jazz, the lilting melodies and catchy rhythms of marabi found their way into the sounds of popular dance bands with a distinctively South African style. The sound of marabi was inte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marabi
Marabi is a style of music that evolved in South Africa over the last century. The early part of the 20th century saw the increasing urbanisation of black South Africans in mining centres such as the gold mining area around Johannesburg - the Witwatersrand. This led to the development of township slums or ghettos, and out of this hardship came forth new forms of music, marabi and kwela amongst others. Marabi was the name given to a keyboard style (often using cheap pedal organs) that had a musical link to American jazz, ragtime and blues, with roots deep in the African tradition. Early marabi musicians were part of an underground musical culture and were typically not recorded. Indeed, as with early jazz in the USA, the music incurred the displeasure of the establishment. Nonetheless, as with early jazz, the lilting melodies and catchy rhythms of marabi found their way into the sounds of popular dance bands with a distinctively South African style. The sound of marabi was inte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sophiatown
Sophiatown , also known as Sof'town or Kofifi, is a suburb of Johannesburg, South Africa. Sophiatown was a black cultural hub that was destroyed under apartheid, It produced some of South Africa's most famous writers, musicians, politicians and artists. Rebuilt under the name of Triomf, and in 2006 officially returned to its original name. Sophiatown was one of the oldest black areas in Johannesburg and its destruction represents some of the excesses of South Africa under apartheid. History Sophiatown was originally part of the Waterfall farm. Over time it included the neighbouring areas of Martindale and Newclare. It was purchased by a speculator, Hermann Tobiansky, in 1897. He acquired 237 acres four miles or so west of the centre of Johannesburg. The private leasehold township was surveyed in 1903 and divided into almost 1700 small stands. The township was named after Tobiansky's wife, Sophia, and some of the streets were named after his children Toby, Gerty, Bertha a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zulu People
Zulu people (; zu, amaZulu) are a Nguni ethnic group native to Southern Africa. The Zulu people are the largest ethnic group and nation in South Africa, with an estimated 10–12 million people, living mainly in the province of KwaZulu-Natal. They originated from Nguni communities who took part in the Bantu migrations over millennia. As the clans integrated together, the rulership of Shaka brought success to the Zulu nation due to his improved military tactics and organization. Zulus take pride in their ceremonies such as the Umhlanga, or Reed Dance, and their various forms of beadwork. The art and skill of beadwork takes part in the identification of Zulu people and acts as a form of communication and dedication to the tribe and specific traditions. The men and women both serve different purposes in society in order to function as a whole. Today the Zulu people predominantly believe in Christianity, but have created a syncretic religion that is combined with the Zulu's ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indlamu (dance)
Indlamu ({{IPA-zu, ind͡ɮaːmu, Afrikaans: Zoeloedans) is a traditional Zulu dance from Southern Africa Southern Africa is the southernmost subregion of the African continent, south of the Congo and Tanzania. The physical location is the large part of Africa to the south of the extensive Congo River basin. Southern Africa is home to a number o ..., synonymous with the Zulu tribe of South Africa and the Northern Ndebele tribe of Western Zimbabwe. The dance is characterised by the dancer lifting one foot over his/her head and bringing it down sharply, landing squarely on the downbeat. Typically, two dancers in warrior's pelts perform indlamu routines together, shadowing each other's moves perfectly. Historically, it was performed on numerous occasions, especially when warriors prepared for war or when a harvest was celebrated. External Links INDLAMU DANCE – SOUTH AFRICA: The Zulu War Dance.danceask.net A look at Indlamu, the famous Zulu war dance.face2faceafrica.com ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
