LIFE AND FAME
IN ISICATHAMIYA MUSIC:
LADYSMITH MAMBAZO’S ACCOUNT
MBONGISENI P. MAGAGULA
Ladysmith-Black Mambazo-f-006 jpg. Joseph Shabalala.Photograph:CHAD
Guardian.co.uk Gaurdian.co.uk
STUDENT NUMBER: 206515011
NAME : MBONGISENI P MAGAULA
MODULE : AFRICAN MUSIC OUTREARCH DOCUMENTATION
DATE DUE : 30 MAY 2011
LECTURER : DOCTOR PATRICIA OPONDO
Declaration: I here confirm that all my work is my own and I have
stated all my referenced resources.
LIFE AND FAME IN ISICATHAMIYA:
LADYSMITH BLACK MAMBAZO’S ACCOUNT
ACKNOWLEDGE
Chapter one : ABSRTUCT 1
Chapter two : INTRODUCTION 2
Chapter three: THE INFUENCES TO THE ISICATHAMIYA MUSIC 3
Chapter four : THE FIELD EXPERIENCE IN KWAMASHU 4
Chapter five : INTERVIEW WITH PROFESSOR SHABALALA 5
Chapter six :LADYSMITH BLACK MAMBAZO IN AN INTERNATIONAL ARENA 10
Chapter seven : THE INTERNATIONAL ARENA WITH PAUL SIMON 11
Chapter one
Abstract
This thesis is about research that has a topic about Life and Fame in Isicathamiya music: Ladysmith Black Mambazo’s account.
It is intent or proceeded to prove or get information directly interview with the founder or leader of Ladysmith Black Mambazo. The Greatest male group of African harmonies, Grammy award winners, one of the oldest male group of Secular music in the world if not the oldest as they have fifth years in existence. It is my priority to states about fact and practices oriented to the culture of their music. Some of the statement in this thesis is quoted directly from Professor Shabalala and some member of the group and reliable source like Mr Welcome Nzimande. I have also had some experience to be in a field by doing my research and travelling with Uhlelo olusha (New Generation) which is led by Mr Vusi Zulu who is a graduate from the University of Kwazulu Natal doing African Music and Dance, who was also my fieldwork assistant. My intention was to try to prove and experience their culture of the music if is still kept, psychology fact about the music and atmosphere of the field in isicathamiya music at the lower level of fame.
This research serves to embrace the life, works, achievements and fame of Ladysmith Black Mambazo under their leader Professor Joseph Bhekizizwe Siphathimandla, Bagboy Shabalala. It is important to briefly state about the origin, the birth of the founder and their recognition in world of fame by getting it all from Professor J Shabalala himself.
Chapter two
Introduction
THE ORIGIN OF THE MUSIC AND NAME
ISICATHAMIYA THE WORD
Isicathamiya the word does not have a directly meaning but it was derive from cathama in Zulu which means to walk slowly and careful, which was a tendency of Black South African mine workers who used to have practice and performance at night in cities where they were working. They had to not disturb their bosses with their music. This made of two words which were cothoza mfana which means walk slowly and not disturb boy but end up to be Isicathamiya. In European countries they call it a capella music, Isicathamiya is clearly present the sound of church music, choral, songs of struggles in South Africa, but the difference to all mention genres to Isicathamiya is the fact that it only performed by male groups where as other genre are performed by both genders. It is because they were the ones who were exposed to the urban life, needed something to uplift their inner person through pain, sorrows, so they would gather and have something for entertainment.
It was a culture of Zulu speaking males from the province of KwaZulu Natal, it was a symbol of urban life. They used to form group as homey, brothers, cousin and brothers who would worked for their advantage when they visit their respectable homes as they could keep performing for their girlfriends and fans. The Zulu Nation was well known as musical or music loving tribe because back in the years it was noted that even to the battles, they used to sing Amahubo empi (warrior hymns) it was stated” Shaka, being a great warrior, knew he had to keep the morale of his impi high, and music did it for him (Erlimann Viet, 1996: 4). Amahubo empi were also a habit of African National Congress and other political organization to sing when they were still in liberation. The music is still witness for entertainment for soccer games in stadium and location games.
South Africans or Zulu nation in particular had a belief that music is instrumental for celebration, connect with their Gods or God, uplifting because for any gathering music is practice. Isicathamiya is real symbolised Zuluness as the greatest Solomon Linda who is well known with his phenomenal composition Mmuwe or Mbube, because Linda was also from Emnambithi (Ladysmith) the home of Ladysmith Black Mambazo.
Chapter three
THE INFLUENCES TO THE MUSIC
It is important that we highlight about Mbube as a song or composition because some people have a misunderstanding that it is name of the genre called Isicathamiya. We will quote the statement Viet from the interview he had with Professor Shabalala,”Any way, you know there were so many in this country and abroad who used to asked me about the music called “Wimbube”(Erlimann 1996:6). Solomon made his mark with this song as Handel did with Hallelujah chorus, But Solomon respected his music and composed as Professor Shabalala said this word in an interview, “Like Solly’s song my music called Isicathamiya”. I will like to give briefly analysis about the song Wimbube. It was approached different to most of Isicathamiya compositions like homeless, Isigcino uzosala wedwa yise kaThoko. All this songs are call and response led by one male who is most tenor or male falsetto, but Wimbube is led by two bass vocalists, it was the first time and in my experience in my fieldwork like KwaMashu and when I listen to the programme called Cothozamfana in Ukhozi fm.” Linda’s harmony structure of his Mbube song was consistent I IV Ic V7, which is directly influenced by Western music taught to African Christians by European missionaries. There is no much different to the any other songs but the different is the fact that other compositions it led by two voices.
UHLELO OLUSHA (NEW GENERATION)
Chapter four
My fieldwork started at Durban Commercial College in a CBD of the city Durban where the group I had to do my research about was waiting for their transport to KwaMashu where the competition was taking place. I was told to come at eight am because the transport was leaving at nine, but it was not to be, because we had to wait for other members who happened to be late. The weather was not good at all it was pouring. Mr Vusi Zulu who was a group leader told me that they have been using the central venue because they wanted to be accessible to all members as they stay far and different areas, so it was easy for everyone to reach the place. Their group leader was a postgraduate from the University of KwaZulu Natal who obtain a Diploma in Performance and he is a composer, sings a lead in a group. The name of the group came about different member who came from different groups of Isicathamiya in an area called Glebe lands hostel in Mlazi which is Northern part of Durban city. They felt that it was a good idea to have one group that will be consistent in performing together.
They were group of third members, but some of the members were not available for performance because they went back to their respected place of origin as they secured jobs. Even some of the members who were still in urban area could not make to go for their performance in KwaMashu because they were on duties.
While we were still waiting for the transport to come, Vusi the group leader decided to call all members to have a rehearsal. The first song they performed was called Lwangena Uhlelo Olusha (There comes The New Generation) and they could produce heavy sound with their voices. It was not different to the sounds of Mambazo because their music was not expressed with sound that had dynamics and pitch accuracy like they adopted from Western harmonies as Mambazo does. Vusi told me that Uhlelo Olusha has already released two albums Ngizwa Inhlokomo (I can hear crowd cheering) and Ingongomane which he said they mostly get a chance to sale when they go for competition, for special orders and for radio use like Chotoza Mfana at Ukhozi Fm which is hosted on Saturdays. The group has been the Isicathamiya champions for two occasions at Playhouse which is an initiation of both by staff of The Playhouse Company, and by the many hundreds of Isicathamiya practitioners who travels the length and breadth of KwaZulu Natal, and from further field to celebrate their highly-skilled performance art in the spotlight of The Playhouse’s Traditional Arts Festival. “Over the years, as people began moving back to their homelands, they took Isicathamiya with them, a highly evolved art demanding specialized performance skills in a cappela.” (William Charlton-Perkins) The Playhouse and Government has established this event or competition to lift and encourage this genre to be practice by staging this event as annual event.
KwaMashu competition was hosted by Stable theatre associate as they always host competition at the Stable. KwaMashu A section BhekuZulu Hall is venue where the group of Ladysmith started performing as group in 1960s. The building looked old and needed renovation but it was clean.
Chapter five
My interview with Professor Joseph Shabalala
My transcription of my interview with Professor Joseph Shabalala where he relates about his journey with his group that has made wonders for this beautiful country and abroad.
Then they initialled this role that when we were done with singing, they would give us chairs so we could sit down, then we would leave one by one so that people will not notice that we were actually leaving, because as soon as they saw us packing to leave our fans would do the same thing. These are all the records we made. Initially they were 12 songs and then as time went by, they were 10 songs, and it was fine. It was an LP, 2 big records. Composing a song was very easy to me. I experienced emotions of joy, sadness, sorrow and then from there I would think have my country, and then you wonder till when? Where will it be? What will it be like? And then the songs would just up to mind, like the song ‘isigcino uzosala wedwa’ (in the end, you will be left all alone). And then I would also think of a situation like a married couple, the husband arrives home late, and stars beating up the wife and the children, and you will say, hey! ‘isigcino zosala wedwa’ .and then I started to really look at and analyse the song and I realised the meaning, I just wrote the song without thinking about it in detail. The pleasure that came out of it made us to respect ourselves.
God gave me a gift to teaching people how to sing and to be conceited when you’re walking down the road because people loved my music. If people knew you and loved you, then why would you be conceited? , Because you are conceited a girl, who wants to be chosen from the rest of the other girls. So do not be conceit because already the people have chosen you. And then I had this dream where I had to play which I did not know how to play. And then I think to myself that I’ve started hallucinating. And then I told my boys all about my dream “I dreamt a dream were I was required to pray. The prayer should be as follows, sibusiso sezulu, kunye nenkazimulo yakho, ukhanyisele abantwana bakhokuko konke abakwenzayo, khanyisa amzwi abo , abe mnandi,futhi aphumelele njalo njalo Amen”. (blessing of the heavens you r grace shall light upon your children in everything they do, shed light on their words, their words should be good so that they can be prosperous, forever and ever Amen). Then my boys were happy, and then I lead them. And they got used to it. There was someone who suggested that we should pray. Then as time went on we were invited to Johannesburg, Soweto at eyethu cinema hall to sing. It was one very famous hall indeed we knew it even though we were far from KwaZulu Natal. On that day miracles happened. People were absolutely crazy about one particular song, as soon as they came out of our rooms to perform people gathered around. And when other artists went to sing, then they would be no audience left to watch, and as we went back to our rooms to change people followed us, it was amazing. Then they came up with a clever plan now, when they were finished performing they would give them chairs as we were tired from all their performance and jumping on the stage the whole day, so that we could leave one by one and so in that way people would not notice that we were actually leaving. They were on duty on the following day, so they were supposed to go back to KZN the next morning for work. They would tell everybody that they were from Johannesburg. It was not for long when they were told to produce a record which was to be sold. He told his boys that they will be going for recording a record. It was Paul Simon, he stated” So now we have to put in a lot of effort into it so it would be strong.” They put so much into it and then it did not sound nice. They were told to rehearse and without their knowledge, they were actually recording them. They were so loud that they could actually cover the microphones with some sort of blankets, they were told to relax and practice all songs which they were preparing to record but rehearse like they always do. They were surprised when they were told that they have finished recording. And we heard the 4 beautiful songs we recorded without our knowledge and then they heard the first one in which they were making too much of noise. What a different it was! When they arrived at work they were so excited and they told their friends that they were singing in Johannesburg. One of the days when they were home when they heard their song ‘isigcino uzozisola’ was playing on loud speaker, they were all surprised they asked themselves, who those people were singing? Because they it sounded like them. It was West Nkosi from Gallo, driving a car which had a loud speaker on. He came t o give them a record, he then told our fans and friends that the music was available in the stores.
He forgot which year it was when they made their first record that was going to be sold (their first album came out in the year 1970s). Then they started noticing that people begun to notice us and they were pointing at them, and they asked themselves whether they were going to be killed, why are people pointing at them? Then someone came to their rescue and told them that they like them and their music. They even came to their rehearsal to hear them practicing, it also frighten them but they were also told that people outside could hear good music from the background and they begged them to not chase them away. And then when we took the bus people shouted, “It’s him!” the person said they will never hit us, they just love our voices. We learned soothing new, a new life to all of this, a life were people would point at you and greet you walking down the street. And it carried on; when we went to record we knew how much people loved our music so we did everything with power and love. They said that we sang well, which we did not really know that we sang so beautifully. But we had an aim, which we wanted to sing in a certain way to what we were singing at that time. We did not want our songs to be high pitched. We wanted it to be relevant to people. It shouldn’t be irrelevant. My first group did not want to listen. But my second group was respectful and they always listened. Then some of the members from the first group joined my second group again. God has made a miracle, there’s gold all over Ladysmith Black Mambazo singing has left me in a state of disbelief. So I decided I should started going to church, praying, I dreamt of a person telling me to pray, whereas I did not know whether how to pray or what to say. I told my boys all about this and then they told me that they would help out. Then I bended on my knees and they did the same thing as well. They would pray for silly things. Then I told them that, which is not a good way to pray. And then as time went on they improved and at that time I remembered the prayer that I dreamt of. Then this thing was revealed to me, but I gradually taught it to my boys by manner of grace and honour, like art. When we sign we would clap for each other and encourage each other.
Professor Shabalala also stated his faith when he opened up that he feels that repentance changed his life for being a better person, especially for the fact that he was a philander, women were interested to him and he would take an advantage, he stated “I thank God that he came to my life”. Professor Joseph became a member of Church of God in Africa in which he was appointed to be Bishop of the church.
I also had an interview with his two sons by the names Thamsanqa and Thulane Shabalala on my day of their rehearsal on 13 May 2011 who briefly stated about their involvement or being part of the group. Mr Thulani said that they grown up singing at church and Professor Shabalala groomed them by organizing a small group which was made of them and friends when they learnt how to sing Isicathamiya. He also stated that they were invited to the group because of some members retirement and those who diseased. MR Thamsanqa supported his young brother by saying” as my brother have already stated,yes we grown up seeing our father and the group singing but not knowing that there was money involve until we were invited to be part of the group, the actual factor is that we started to notice when we touring overseas.” He also stated that they love from their childhood but they have pursued other careers like engineering, mechanic and other profession before they had to come and join the group of Mambazo. When I had a little conversation with Sibongiseni Shabalala who is also part of the Mambazo, Asking him about his path he has taken by releasing a Maskandi album and recording company in which he has recorded some great musicians in a country.He stated that,” Music is tough field to consider as a career so that why I decided to own a company, I do not know what the future hold so to me music is life I have to look after myself and have a backup plan.” He even told me that it was not for the fact that he is a son of Professor J Shabalala to get a recording offer from Gallo, but he asked a friend to take it for listening session for their talent search. And they liked his work but also surprised after his friend told them it was Shabalala’s son.
I could see that the group is good future as they were all care for each other, the sense of Ubuntu (humanity) respect their father as they respected themselves. They were also Mazibuko’s whom Professor Shabalala called his cousin, they were so humble. I asked Mr Mzizi Shabablala about their lives as they were so humble family. And he said “how can you not be humble when your father is so humble, we learnt it from our father (Professor J Shabalala). I also mananged to meet Mr Dumsane Goba who is a father of SATMA Award who said to me,” I have learnt a lot from Professor Joseph Shabalala who is like a father, one of the things I learnt is to be humble to the eyes of the people”. In deed he was one of the humblest people that you could meet. He briefly stated that he has work closed to Professor Shabalala. Professor Shabalala was always happy when I came for interview saying that we need to teach our new generation about our culture in which can find themselves. He even said it could be a good to have me to his house so that we can share ideas and get more from his experience. He also expressed his love of the University that offered him a professorship. In closing my interview with him he said, “I will never forget when we were invited for performance in the UK and not told that we were to perform for former President of South Africa Nelson Mandela. When we got the stage we were so surprised to see him coming closer us with Madiba dance.” He even made some moves of Madiba dance to explain how he reflected and his emotions when he was on stage with former President Nelson Mandela. It was the year in which the former President had to receive his Noble Peace Prize in 1993 in Oslo Norway.
Paul Simon, Ladysmith Black deathandtaxesmag.com
Chapter six
LADYSMITH BLACK MAMBAZO IN AN INTERNATIONAL ARENA
WITH PAUL SIMON
Ladysmith Black Mambazo’s entry to the international arena was one moment that we can state as establishment, recognition and came with fortunes, Professor Joseph Shabalala also recalled it in all session for our interview and he called it a break through.
In an interview I had with him, he briefly stated about their journey before and after they had done their collaboration album with Paul Simon. Before we can look at their break through to the international arena we will first look at their first album they did under Gallo record company which is the biggest recording stable in South Africa, but we have already look have his statement about their first recording in a previous topic in Shabalala’s interview. ‘It was a beginning of it all’ he stated. He even said that ‘I got it from my uncle Mazibuko who advised me to go to Radio Zulu which now called SABC Ukhozi Fm. It was not for long when they invited to go for their first recording but it was not successful as some members felt it was against their culture. he stated’ Because their voices will be heard even when they passed on’ he laughed. Some of the member quite the group and it did not take much time to be when they were invited for performance and audition which end up to a recording session. He states ’we were so surprised, overwhelm and could not deal with the life of being celebrates but one friend of mine who said to us ,we must not worry because they love your music so just accept it and honour they attention to you.
Ladysmith Black Mambazo’s tour to overseas was a major one and an eye opener for the group that there is a lot the world was about to offer .It was stated, ”The Ladysmith Mambazo had travel to the German concert to dates three times before Paul Simon heard the group during a trip Johannesburg (Thembela 1996:35). ”Shababla told me in an interview that, it was Germans who saw them at the University of Natal which is called now the University of KwaZulu Natal (Howard College) who sang praises of them in German that led for their invitation in 1981. Their first trip to German was after they released an album that sold a double platinum disc award, But there was a first album called Amabutho which sold 20,000 copies which was the first time album released by Black South African to reach that degree sales. It was released under Gallo which was a biggest South African recording company. The Group was well known throughout SA and was allowed to travel to the Cologne in German. In South African it was not easy for any Black South African group to travel to any European country as it was an oppression era. They open gate for groups like Amahhotel Queen (Queens of the Hotel) who also started touring the world. The exposure they had made to realize that they had to please their fans in German by learning German and composed two German songs title as ‘Wir Grussen’ and ‘Euch Allein’ an album called Phansi Emgodini.
Professor Shabalala in 1973 repented and became a Christian which influence their music. It was not for long when they released a gospel album called Ukukhanya Kwelanga most of the songs in an album were from the hymn of Methodist church which made a big mark, because even today the church have male group called Amadodana Aseweseli (The sons of Methodist) the church has kept the sound of African and European harmonies and their music is most call and respond which is also more practiced in Isicathamiya. The different between Ladysmith Black Mambazo and Amadodana Aseweseli is that the Mambazo are more secular but Amadodana Aseweseli is sacred. Amadodana Aseweseli does not care much about dynamics as Mambazo does.
Chapter seven
Ladysmith Black Mambazo and Paul Simon
When I had an interview with Professor Shabalala I learnt that Paul Simon was a man of it to his success as he could sing praises of him when he share story of their success. He said that he could not believe that his wife received call from Paul who wanted to meet him and it was not for long when he had to go for performance in Johannesburg for performance and it happen that Paul was also there to meet them as a group. He state in his interview’ It was a first time to get a hug from white man as it was not practiced in apartheid era because there was division of Backs and Whites in South Africa. Paul Simon even wanted to tour with the group as it dangerous for white man to be in townships his wish was not realised. Professor Shabalala stated’ When Paul said he would be touring with us I just pretended like we will take him with us, but it was to be as it was not dangerous in those days for a white man in those place’. It was also stated’ Simon wanted to come along with Amambazo group in their tour of the Black township in Transvaal (Thembela1996:38)’. Paul Simon recognised the group of Mambazo when they first received their first Grammy award of ‘Shaka’ album so it was his wish to do collaboration with the group since which was realised and it resulted to Graceland album. It was quoted’ First of all, when I heard that one of the greatest American musicians of all times wanted to meet the leader of Ladysmith Black Mambazo, I was shocked and surprised.’ (Thembela 1996)
When I asked about their early tours to overseas, he eventual started stating about their tour with Paul instead of talking about his first trip to German until I had to asked specifically about their first tours, it was when he started to relate about it. Professor Joseph stated”when I final met and learned from him that he was a big fan of Ladysmith Black Mambazo and wanted to know if I could record with record with him, this was a dream come true(Thembela:1996,35)”. The world tour of Mambazo and Paul Simon was one of the biggest if not the biggest of the year 1987.The world recognised as a major initiation of African Cultural music, people felt like it was spiritual effection. Shabalala felt that going to UK for their recording which he state that he was so happy when he was told that Paul book them world class studio. He also realised that it was a journey to the world arena. Their collaboration made wonders it brought a rich heritage in South Africa. In interview he stated’ I received a letter from Paul Simon where he stated homeless and I decided add more lyrics on it we came to him with a competed song with my boys singing homeless and Paul was amazed when he heard a song. But they composed two songs namely homeless and diamonds on the sole of her shoes for Graceland album. Their tour was one the biggest tour in musical history over two months. After Paul Simon collaboration they have been doing much collaboration with musicians like Dolly Parton, Josh Groban and many more.
Acknowledgement
1. The group of Uhlelo Olusha from Glebe Umlazi, thanks for their humble heart to make my fieldwork to be a success and your loving dearly your music.
Special thanks to:
Mr Vusi Zulu (fieldwork assistance)
Mr Musa Zulu (the writer)
Mrs Thuli Khumalo Chairlady of the (Stable theatre)
Mr Thabo Molefe
Mr Wellington (Stable theatre)
The community of KwaMashu A section
2. Mr. Welcome Nzimande, Thank you for everything you have done for this research to be a reality.
3. Thanks to all the groups that performed for the competition in KwaMashu competition and all people who were part of the event like the officials, the judge of the day and the audience. You have kept the culture.
4. Professor Joseph Shabalala you are a great father, icon, role model, and everything to this Nation. You make me one of son and honour me with everything any man could offer to his son. You also welcome me with warmth hands when I came for my research it will not be a success without your support.
5. The group of Ladysmith Black Mambazo, I could not believe myself when I met you. Thank you for being a great that you are and humble family or group. May God bless you and live long for young and old to witness the beauty of being an African or mankind
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Carol A, Muller. South African History: Century of Traditions in Transformation. California. United States of America.2004
Veit, Erlmann. Night Song: Performance, Powerful and Practices in South Africa. Chicago .United States of America. University of Chicago and London.1996
Alex J, Thembela and Edmund P.M. Radebe. The life and Works of Joseph Shabalala and the Ladysmith Black Mambazo. Pietermaritzburg South Africa. Reachout publishers (Pty) Ltd.2003
Ladysmith Black Mambazo. (1999). In Harmony. [VHS]. Gallo Record Company.
Ladysmith Black Mambazo. (1997). The Best of Ladysmith Black Mambazo. [VHS]. Gallo Record Company.
Ladysmith Black Mambazo. (1988). Journey of Dreams. [DVD]. ILC Ltd.
Ladysmith Black Mambazo. (2004). On Tiptoe: Gentle Steps to Freedom. [DVD]. New Video Group.
Paul Simon, Ladysmith Black Mambazo et al. (1997). Classic Albums - Graceland. [DVD]. Harcourt Films/Isis Productions
Ladysmith-Black Mambazo-f-006 jpg. Guardian.co.uk
Joseph Shabalala.Photograph: CHAD, Gaurdian.co.uk
