Mbaqanga - Revision history

Ivor at 12:22, 4 February 2020

2020-02-04T12:22:55Z

Satj at 14:07, 26 June 2019

2019-06-26T14:07:49Z

Satj at 13:37, 26 June 2019

2019-06-26T13:37:11Z

Satj at 13:36, 26 June 2019

2019-06-26T13:36:56Z

Centaps at 14:00, 7 September 2010

2010-09-07T14:00:32Z

Centaps at 13:59, 7 September 2010

2010-09-07T13:59:53Z

Centaps: Created page with " Mbaqanga musicians. [Orkin?*]. Return to South African Theatre Terminology and Thematic Entries Return to Main Page"

2010-09-07T13:01:18Z

Created page with " Mbaqanga musicians. [Orkin?*]. Return to South African Theatre Terminology and Thematic Entries Return to Main Page"

New page

Mbaqanga musicians. [Orkin?*].

Return to [[South_African_Theatre/Themes|South African Theatre Terminology and Thematic Entries]]

Return to [[Main Page]]

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-[[Mbaqanga]] is an influential  style of South African music.
+[[Mbaqanga]] is an influential style of South African music.
-Its roots lie in rural Kwa-Zulu Natal,  roots that continues to influence musicians worldwide today. The style originated in the early 1960s.
+Its roots lie in rural Kwa-Zulu Natal,  roots that continue to influence musicians worldwide today. The style originated in the early 1960s.
-Historically, laws such as the Land Act of 1913 to the Group Area Act(1950) initially prevented people from integrating from different tribal communities, consequently making it almost impossible for most music artists to gain recognition beyond their tribal boundaries. The music genre mbaganga developed during this time (1960s) and to this day most of the major record labels are white owned companies with very few black artist that have contributed to their own material.[1]
+Historically, laws such as the Land Act of 1913 to the Group Area Act(1950) initially prevented people from integrating from different tribal communities, consequently making it almost impossible for most music artists to gain recognition beyond their tribal boundaries. The music genre mbaganga developed during this time (the 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.[1]
 In Zulu, the term mbaqanga means an everyday cornmeal porridge, which is worth noting, considering the history of the music's popularity. 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 a staple form of musical and spiritual sustenance; it was their "musical daily bread."[2]
-Mbaqanga musicians received little money. For example, Simon Mahlathini Nkabinde, one of the most well-known mbaqanga singers (and arguably the most famous mbaqanga "groaner", nicknamed the "lion of Soweto"), died a poor man[3]. This was partly due to the exploitation of black South African musicians at home and abroad as Mahlathini pointed out. Mbaqanga groups of the 1960s also found it difficult to get air time on local radio stations[4], and had to perform outside record stores to attract audiences.
+Mbaqanga musicians received little money. For example, Simon Mahlathini Nkabinde, one of the most well-known mbaqanga singers (and arguably the most famous mbaqanga "groaner", nicknamed the "lion of Soweto"), died a poor man[3]. This was partly due to the exploitation of black South African musicians at home and abroad as Mahlathini pointed out. Mbaqanga groups of the 1960s also found it difficult to get air time on local radio stations[4] and had to perform outside record stores to attract audiences.
 Mbaqanga developed in the South African shebeens during the 1960s. Its use of western instruments allowed mbaqanga to develop into a South African version of jazz. Musically, the sound indicated a mix between western instrumentation and South African vocal style. Many mbaqanga scholars consider it to be the result of a coalition between marabi and kwela. A South African tourist website sponsored by the government describes mbaqanga as "the cyclic structure of marabi . . . with a heavy dollop of American big band swing thrown on top." Mbaqanga also provided a very early forum for black and white interaction in a segregated country. As a result, the "white Nationalist government brought this vital era to an end" by razing the townships that supported mbaqanga such as Sophiatown. [5]
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 [edit] International popularity
-Mbaqanga's popularity faded during the 1970s due to the influence of Western pop, soul and disco into South Africa. Public performances declined because labor migrants no longer wanted to be in the spotlight. Additionally, audiences sought more urbanized language, vocal, and instrumental styles.[2] However, it was revived between 1983 and 1986. The reversal of fortunes was in part due to Paul Simon's incorporation of South African music into his Graceland album (1986) and subsequent tour. Mahlathini and the Mahotella Queens' appearances at festivals in France and at Nelson Mandela's 70th birthday concert in Wembley Stadium, London in 1988 signalled its return. White South African musicians influenced by this style include singer song-writer Robin Auld [1]. Veteran Afrikaans piano accordion player Nico Carstens produced a boereqanga hit with Viva Madiba.
+Mbaqanga's popularity faded during the 1970s due to the influence of Western pop, soul and disco into South Africa. Public performances declined because labour migrants no longer wanted to be in the spotlight. Additionally, audiences sought more urbanized language, vocal, and instrumental styles.[2] However, it was revived between 1983 and 1986. The reversal of fortunes was in part due to Paul Simon's incorporation of South African music into his Graceland album (1986) and subsequent tour. Mahlathini and the Mahotella Queens' appearances at festivals in France and at Nelson Mandela's 70th birthday concert in Wembley Stadium, London in 1988 signalled its return. White South African musicians influenced by this style include singer song-writer Robin Auld [1]. Veteran Afrikaans piano accordion player Nico Carstens produced a boereqanga hit with Viva Madiba.
 Mbaqanga was fully replaced as the dominant music genre in the 1980s by a new urban genre called ‘bubblegum.’ An Afro-dance pop, Bubblegum was mainly influenced by mbaqanga and other popular African styles. With the introduction of television in 1976, this musical genre was promoted as music across all ethnic groups.[9] Characterized as a representation of a move towards music that was more urban than traditional, the Bubblegum genre had many successful musicians, including Chico Twala [2], Yvonne Chaka Chaka and Brenda Fassie. The derivation of mbaqanga into bubblegum contributed enormously towards the development of kwaito.

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-Mbaqanga musicians. [Orkin?*].
+[[Mbaqanga]] is an influential  style of South African music.
-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.
+Its roots lie in rural Kwa-Zulu Natal,  roots that continues to influence musicians worldwide today. The style originated in the early 1960s.
 Historically, laws such as the Land Act of 1913 to the Group Area Act(1950) initially prevented people from integrating from different tribal communities, consequently making it almost impossible for most music artists to gain recognition beyond their tribal boundaries. The music genre mbaganga developed during this time (1960s) and to this day most of the major record labels are white owned companies with very few black artist that have contributed to their own material.[1]

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 Mbaqanga musicians. [Orkin?*].
-Also, see the musical ''[[Stomp]]''
+'''Also, see the musical ''[[Stomp]]'''''
 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.

← Older revision		Revision as of 13:36, 26 June 2019
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	Mbaqanga musicians. [Orkin?*].		Mbaqanga musicians. [Orkin?*].
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		+	Also, see the musical ''[[Stomp]]''

	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.		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.

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-SOURCE:  ''Mbaqanga'' in Wikipedia (http://en.wikipedia.org/wiki/Mbaqanga) To go to the website, click on: [http://en.wikipedia.org/wiki/Mbaqanga]
+SOURCE:  ''Mbaqanga'' in Wikipedia (http://en.wikipedia.org/wiki/Mbaqanga)
 Return to [[South_African_Theatre/Themes|South African Theatre Terminology and Thematic Entries]]
 Return to [[Main Page]]