Music from South Africa

The South African music scene includes both popular (jive) and folk forms. Pop styles are based on two major sources, Zulu isicathamiya singing and harmonic mbaqanga. South Africa is very diverse, with many native African ethnic groups as well as European and Indian peoples. Christian missions provided the first organized musical training in the country, bringing to light many of the modern country's earliest musicians, including Enoch Sontonga, who wrote the national anthem Nkosi Sikelel' iAfrika. By the end of the nineteenth century, South African cities like Cape Town were large enough to attract foreign musicians, especially American ragtime players. African American spirituals were popularized in the 1890s by Orpheus McAdoo's Jubilee Singers. In the 60s, a smooth form of mbube called cothoza mfana developed, led by the King Star Brothers, who invented isicathamiya style by the end of the decade. By the 1960s, the saxophone was commonplace in jive music. This meant that white fans were unable to see their favorite musicians perform, because they were restricted to playing in the townships. The genre was called sax jive and later mbaqanga. Mbaqanga literally means dumpling but implies home-made and was coined by Michael Xaba, a jazz saxophonist who did not like the new style. The early 1960s also saw performers like bassist Joseph Makwela and guitarist Marks Mankwane add electric instruments and marabi and kwela influences to the mbaqanga style, leading to a funkier and more African sound. Mbaqanga developed vocal harmonies during the very early 1960s when groups like 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 (also featuring Makwela along with saxophonist-turned-producer West Nkosi, rhythm guitarist Vivian Ngubane, and drummer Lucky Monama). The Mahlathini and the Mahotella Queens/Makhona Tsohle outfit recorded as a studio unit for Gallo Record Company, to great national success, pioneering mgqashiyo music all over the country to equal success. 1967 saw the arrival of Izintombi Zesi Manje Manje, an mgqashiyo female group that provided intense competition for Mahotella Queens. Both groups were massive competitors in the jive field, though the Queens usually came out on top.