Isicathamiya

Most South African music styles are deeply rooted in the country’s and culture’s history. Especially, the highly suppressive apartheidregime with all its repercussions helped shape many of the most prominent music styles. During the forced labour migration starting in the early 20^th century, the migrant workers have developed several forms of expressive culture (see previous article on ‘Maskandi’ and ‘Gumboots’). Most of these forms of expressions are sung by Zulu men, since they made up the majority of migrants. The isicathamiya is an all men choral music, which epitomizes the terrifying experience many black South African had to go through. The word ‘isicathamiya’ is Zulu and means “to walk or step on ones toes lightly”. The usual group sizes vary between 4 and 25 members with all vocal ranges (bass, tenor, alto and soprano represented). As with other traditional music the content of most songs are either related to religious or cultural beliefs, politics, weddings, deaths or social issues such as crime, domestic violence and HIV/AIDS. Isicathamiya is also linked to gumboot dance in the sense that it was something many migrant workers did after a long day of work in their barracks in the mines. This way they were able to forget about loneliness, the hardship and their families back home.

The music first made it to the international stage in the 1930s with Soloman Linda’s version of the Zulu song ‘Mbube’ (‘The Lion Sleeps Tonight’). But it was not until 1986 with the release of Paul Simon’s multi-platinum “Graceland” album that isicathamiya became known worldwide. The album featured a then unknown isicathamiya band from Ladysmith, Ladysmith Black Mambazo. Led by Joseph Shabalala, the group is today one of South Africa’s most successful exports musically and have won a Grammy. Today, many Zulu isicathamiya choirs still originate from KwaZulu Natal (mostly Durban), but Johannesburg is the secret hotspot for choir competition. In the back alleys and basements choirs meet every Saturday to perform against each other. These events are highly competitive and the reputational impact for a choir of wining is immense. 

Maskandi Zulu Music

Maskandi is one of South Africa’s most famous music industries. The traditionally Zulu folk music has been evolving together with the country over the last decades but has its origin in the early 20^th century at the time of forced labour migration. Maskandi is a predominantly male dominated music, although in the past few years this trend has slowly reversed and more and more women have been front-singers. A typical Maskandi band consists of the musicians, the backup dancers and the front-singer, who also plays the guitar (often the lead guitar). Characteristically, the songs would start with guitar virtuosity, be accompanied by call-and-response pattern with the ‘ingoma’ dancers in the background and somewhere in the song you will also find a rap passage (‘izibongo’).

The purpose behind Maskandi has a big social component; it is a way of passing on messages and the Zulu culture to the youth. The songs deal with ancestors, love, death, ‘lobola’ (dowry), HIV/AIDS and other socially critical issues. Normally, the songs are written from the perspective of the front-singer and his/her life experiences. While the heart of Maskandi music lies in Durban, KwaZulu Natal, today most of the famous artists live and perform in and around Johannesburg. 

Among the most famous bands of Maskandi today are:

• Shabalala Rhythm
• Bhekumuzi Luthuli
• Busi Mhlongo (only famous female singer)
• Phuzekhemisi