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Showing posts with label South African history and culture. Show all posts
Showing posts with label South African history and culture. Show all posts

Saturday, June 21, 2025

"Freedom is Coming Tomorrow" Song from the 1988 Play & The 1992 movie "Sarafina!" (video, background information, & lyrics)



MrPoochsmooch, Aug 22, 2014

Angela Lansbury introduces Sarafina! on the 1988 Tony Awards.
-snip-
The song "Freedom Is Coming Tomorrow" begins at 3:03 in this video clip.

Notice that this is a performance of the 1988 play version of Sarafina and not the 1992 movie version.

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Edited By Azizi Powell

This pancocojams post showcases the song "Freedom Is Coming Tomorrow"* that is featured in the 1992  movie Sarafina!.

This post presents some information about the 1976 South African Soweto Student Uprising that is dramatized in the movie Sarafina! and presents some information about that movie.

This pancocojams post also presents the words to the preacher's remarks that preface the song "Freedom Is Coming Tomorrow" in that movie. The lyrics for that song are also included in this pancocojams post.

Thanks to all the students who were involved in the Soweto Uprising. Thanks to 
Mbongeni Ngema, the composer of the songs in the play and the movie Sarafina! and thanks to all those who were associated with the 1988 Sarafina play and the 1992 Sarafina movie. 
-snip-
it appears that online video clips of the movie "Sarafina!" can only be viewed on YouTube.

Click https://www.youtube.com/watch?v=YTXyh7YPQ9Y 
published by True Explorer, Jul 22, 2021 with the description: "Song by Ntomb'khona Dlamini and Sarafina! Ensemble". That video is a 2:39 high quality visual and audio clip from the 1992 Sarafina! movie. It features the song "Freedom Is Coming Tomorrow" and includes another song that is sung right before it. However, that video doesn't include the preacher's remarks that were made in that movie before that song.

Also, click https://youtube.com/shorts/QXWsJVHlecc?si=W7dNexlRFIzmoP6g for a YouTube video short of the preacher's remarks that preface the song "Freedom Is Coming Tomorrow" in the 1992 movie Sarafina. That video short which was published by @lessonsfromscenes9533, May 2025 has the best visual quality for YouTube videos of that portion of that 1992 movie that I've found to date. However, that video short can only be viewed on YouTube.

**** 
Click https://pancocojams.blogspot.com/2016/06/sarafina-1992-movie-about-soweto.html
Sarafina (1992 Movie About The Soweto Uprising) - The Funeral Songs. 

Click the tags below for other pancocojams posts about the movie Sarafina!. 

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INFORMATION ABOUT THE 1992 MOVIE "SARAFINA!"
Source #1
From https://en.wikipedia.org/wiki/Sarafina!_(film)
"Sarafina! is a 1992 musical drama film based on Mbongeni Ngema's 1987 musical of the same name. The film was directed by Darrell Roodt and written by Ngema Mbongeni and William Nicholson, and stars Leleti Khumalo, Miriam Makeba, John Kani, Ngema, and Whoopi Goldberg; Khumalo reprises her role from the stage performance.

An international co-production of South Africa, the United States, France, and the United Kingdom, the film premiered on 11 May 1992, at the Cannes Film Festival.

Plot

The plot focuses on students involved in the Soweto Uprising, in opposition to the implementation of Afrikaans as the language of instruction in schools….

Cast

Whoopi Goldberg as Mary

Miriam Makeba as Angelina

John Kani as School Principal

Mbongeni Ngema as Sabela

Leleti Khumalo as Sarafina

[…]

Production

Filming

Producer Anant Singh acquired the film rights to the Broadway musical Sarafina! After no Hollywood studio was willing to finance it, Singh raised the funds himself, with the BBC and the French company Revcom being among the investors. By the time filming started, Nelson Mandela was freed and apartheid was abolished, though racial tensions were still high. Said director Darrell Roodt: “Though our project is still confrontational and angry, it’s told with more hope and a spirit of reconciliation.” At the 1991 Cannes Film Festival, Whoopi Goldberg was announced to play Mary Masombuka; she was reportedly the first Black American actress to film a project in South Africa.[3]

The film was shot on location at Morris Isaacson High School in Soweto, South Africa. Morris Isaacson was a centre of the 1976 Soweto student uprisings.[4] Many of the extras and some of the cast members participated in the real-life resistance in Soweto, while Miriam Makeba was a political exile. Singh told the press that the film would be a different tackling of apartheid than other films about the subject, where they were told from a white perspective. "When people ask me why there is no good white in the movie," said Singh, "I tell them that this is one movie that isn’t about whites. Many of the actors have been arrested, had the police break down their doors in the middle of the night. Almost everyone had either first or second-hand experience with the movement. The kids in the cast were performing what they lived.” Given the racism that was still prevalent in South Africa post-apartheid, there were concerns that the filming of scenes showing protests and rioting would fan the flames. To avert this, the prop military vehicles were emblazoned with the insignia "Sarafina!" to ensure the public that a movie was being filmed there.[3]

In the United States, the film had some of the more graphic scenes removed to avoid a more restrictive rating.[3] The MPAA rated the film PG-13 for "scenes of apartheid-driven violence;" the Director's Cut, which was released on LaserDisc in 1993, was rated R for "strong scenes of violence."[5]

Reception

Accolades

The film was screened out of competition at the 1992 Cannes Film Festival, where it was greeted with a standing ovation.[6][3] Years later, Whoopi Goldberg mentioned on The Daily Show with Trevor Noah (who said the film was a hit in South Africa), that the ‘92 LA rebellion happened at the same time that Sarafina! was released which hampered the film's chance of success in the United States.[7] The film holds a 60% score on Rotten Tomatoes.[8]

[…]

Box office

Sarafina! grossed $7,306,242 in the United States and Canada.[9] It was the fourth-highest grossing film in South Africa for the year with a gross of $1.33 million.[10]"

****
Source #2
From https://www.imdb.com/title/tt0105316/
"[Genres] - drama, musical

[Summary] - South African teenagers fight against apartheid in the Soweto Uprising.

Director -Darrell Roodt

Writers -Mbongeni Ngema, William Nicholson

Stars: Whoopi Goldberg, Leleti Khumalo, Miriam Makeba

Motion Picture Rating (MPA) - 

Rated PG-13 for scenes of apartheid-driven violence

Storyline

As tensions of apartheid spread across South Africa, many students revolt… in a wake of the introduction of Afrikaans language as a means of teaching. … In [the] township of Soweto, a group of students, led by a beautiful and intelligent young girl, Sarafina, mastermind a plot to rise against the apartheid regime by vehemently rejecting the proposal to have Afrikaans as a medium of instruction. This angers the white people and results in a massive unrest of the students and those others supporting them. Meanwhile, Sarafina's mother accepts a job of a housekeeper in a white household and it angers Sarafina. Following the unrest of students and their possible torture and trial, Sarafina is released from prison, reunites with some of the colleagues and composes a "Freedom is Coming Tomorrow" song.—Isaac Museka Lupupa

Release date

September 25, 1992 (United States)

[...]

Languages - English, Zulu

[...]

Trivia

The original Broadway production of "Sarafina!" opened at the Cort Theater in New York on January 28, 1988, ran for 597 performances and was nominated for the 1988 Tony Awards for the Best Musical and Score. Dumisani Dlamini, Leleti Khumalo, Nhlanhla Ngema and 'Mbongeni Ngema' recreated their roles in the movie version. A nomination for the 1988 Tony Award for Best Featured Actress in a Musical went to Leleti Khumalo."...
-snip-
Read the information found in this pancocojams' comment section about awards that the movie Sarafina! was nominated for or received.

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INFORMATION ABOUT SOWETO
From https://en.wikipedia.org/wiki/Soweto
"Soweto ... is a township of the City of Johannesburg Metropolitan Municipality in Gauteng, South Africa, bordering the city's mining belt in the south. Its name is an English syllabic abbreviation for South Western Townships.[5] Formerly a separate municipality, it is now incorporated in the City of Johannesburg Metropolitan Municipality and is one of the suburbs of Johannesburg."...

****
INFORMATION ABOUT THE SOWETO STUDENT UPRISING
From https://en.wikipedia.org/wiki/Soweto_uprising
"The Soweto uprising, also known as the Soweto riots, was a series of demonstrations and protests led by black school children in South Africa during apartheid that began on the morning of 16 June 1976.[1]

Students from various schools began to protest in the streets of the Soweto township in response to the introduction of Afrikaans, considered by many blacks as the "language of the oppressor", as the medium of instruction in black schools.[2] It is estimated that 20,000 students took part in the protests. They were met with fierce police brutality, and many were shot and killed. The number of pupils killed in the uprising is usually estimated as 176, but some sources estimate as many as 700 fatalities.[3][4][5] The riots were a key moment in the fight against apartheid as it sparked renewed opposition against apartheid in South Africa both domestically and internationally. In remembrance of these events, 16 June is a public holiday in South Africa, named Youth Day. Internationally, 16 June is known as The Day of the African Child (DAC).[6][7]

Causes

Black South African high school students in Soweto protested against the Afrikaans Medium Decree of 1974, which forced all black schools to use Afrikaans and English in equal terms as languages of instruction.[8] The association of Afrikaans with apartheid prompted black South Africans to prefer English. Even the Bantustan regimes chose English and an indigenous African language as official languages. In addition, English was gaining prominence as the language most often used in commerce and industry. The 1974 decree was intended to force the reverse of the decline of Afrikaans among black Africans. The Afrikaner-dominated government used the clause of the 1909 Union of South Africa Act that recognised only English and Dutch, the latter being replaced by Afrikaans in 1925, as official languages as its pretext.[9] All schools had to provide instruction in both Afrikaans and English as languages, but white South African students learned other subjects in their home language.

The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from 1 January 1975, Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade), according to the Afrikaans Medium Decree. English would be the medium of instruction for general science and practical subjects (homecraft, needlework, woodwork, metalwork, art, agricultural science).[8] Indigenous languages would be used only for religious instruction, music, and physical culture.[10]

The decree was resented deeply by the black population. Desmond Tutu, the bishop of Lesotho, stated that Afrikaans was "the language of the oppressor."[citation needed] Also, teacher organizations, such as the African Teachers Association of South Africa, objected to the decree.[11]

[...] 

A change in language of instruction forced the students to focus on understanding the language, instead of the subject material. That made critical analysis of the content difficult and discouraged critical thinking.[13]

The resentment grew until 30 April 1976, when children at Orlando West Junior School in Soweto went on strike and refused to go to school. Their rebellion then spread to many other schools in Soweto. Black South African students protested because they believed that they deserved to be treated and taught like white South Africans. Also, very few people in Soweto spoke Afrikaans. A student from Morris Isaacson High School, Teboho "Tsietsi" Mashinini, proposed a meeting on 13 June 1976 to discuss what should be done. Students formed an Action Committee, later known as the Soweto Students' Representative Council,[14] which organised a mass rally for 16 June to make themselves heard.[8]

Uprising

On the morning of 16 June 1976, between 3,000 and 20,000[15][16] black students walked from their schools to Orlando Stadium for a rally to protest having to learn in Afrikaans in school. Many students who later participated in the protest arrived at schools that morning without prior knowledge of the protest but agreed to become involved. The protest was planned by the Soweto Students' Representative Council's (SSRC) Action Committee,[17] with support from the wider Black Consciousness Movement. Teachers in Soweto also supported the march after the Action Committee emphasized good discipline and peaceful actions.

Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School.[18] The students began the march, only to find out that police had barricaded the road along their intended route. The leader of the action committee asked the crowd not to provoke the police, and the march continued on another route and eventually ended up near Orlando High School.[19] The crowd of between 3,000 and 10,000 students made its way towards the area of the school. Students sang and waved placards with slogans such as, "Down with Afrikaans", "Viva Azania" and "If we must do Afrikaans, Vorster must do Zulu".[20]

The police set their trained dog on the protesters, who responded by killing it.[21] The police then began to shoot directly at the children.

Among the first students to be shot dead were the 15-year-old Hastings Ndlovu and the 12-year-old Hector Pieterson, who were shot at Orlando West High School.[22] The photographer Sam Nzima took a photograph of a dying Hector Pieterson as he was carried away by Mbuyisa Makhubo and accompanied by his sister, Antoinette Peterson, which became the symbol of the Soweto uprising. The police attacks on the demonstrators continued, and 23 people died on the first day in Soweto. Among them was Melville Edelstein, who was a sociologist and academic and had devoted his efforts to humanitarian and social welfare projects in Soweto. Serving as Deputy Chief Welfare Officer, Edelstein instituted many projects aimed at assisting youth, disabled, poor, and marginalized communities within Soweto. He was stoned to death by the mob and left with a sign around his neck proclaiming, "Beware Afrikaans is the most dangerous drug for our future".[23]

The violence escalated, as bottle stores and beer halls, seen as outposts of the apartheid government, were targeted, as were the official outposts of the state. The violence had abated by nightfall. Police vans and armoured vehicles patrolled the streets throughout the night.

Emergency clinics were swamped with injured and bloody children. The police requested for the hospital to provide a list of all victims with bullet wounds to prosecute them for rioting. The hospital administrator passed the request to the doctors, but the doctors refused to create the list. The doctors recorded bullet wounds as abscesses.[14][22]

1,500 armed police officers were deployed to Soweto on 17 June carrying weapons, including automatic rifles, stun guns, and carbines.[14] They drove around in armoured vehicles with helicopters monitoring the area from above. The South African Army was also ordered on standby as a tactical measure to show military force. Crowd control methods used by South African police at the time included mainly dispersement techniques. Hundreds of people were arrested, including activist Connie Mofokeng, who was tortured for information.[24]

Casualties and aftermath

The number of people who died is usually given as 176, with estimates up to 700.[4] The original government figure claimed only 23 students were killed,[25] with the number of wounded estimated to be more than 1,000 people. Black students also killed two white people during the uprising, one of them Melville Edelstein.[26][27][28]"...

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TRANSCRIPT OF THE PREACHER'S REMARKS THAT PREFACE THE SONG "FREEDOM IS COMING TOMORROW" IN THE 1992 MOVIE SARAFINA!
from https://www.imdb.com/title/tt0105316/
"They fear you because you are young. They fear you because you are the future. How fearful they must be that they shoot you children. How powerful you must be that they fear you so much. You are powerful because you are the generation that will be free. The violence, the beatings, the torture, the killings; all this is the birth pain of our free nation. Please God, may I live to see it. But if I don't, I see it now on your faces like the light of the rising sun, and my heart lifts within me, as if I, too, was young again. And I know, yes, I know freedom is coming tomorrow. May our children rest in peace. Ashes to ashes, dust to dust."

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LYRICS - FREEDOM IS COMING TOMORROW
(composer - Mbongeni Ngema)

"Nkosi sikelel' Afrika

Maluphakanyisw' uphondo lwayo

 

Nkosi sikelel' Afrika

Maluphakanyisw' uphondo lwayo

 

Maluphakanyisw' uphondo lwayo

 

Freedom is coming tomorrow

(Get ready mama prepare for your freedom)

Freedom is coming tomorrow

(Get ready mama prepare for your freedom)

Freedom is coming tomorrow

Freedom is coming tomorrow

(Yaahooo woza uzojaiva mama)

Freedom is coming tomorrow

(Yaahooo woza uzojaiva mama)

Freedom is coming tomorrow

(Yaahooo woza uzojaiva mama)

 

Freedom is coming tomorrow

Freedom is coming tomorrow

Freedom is coming tomorrow

Freedom is coming tomorrow

Freedom is coming tomorrow

Hey"
-snip-
Online source - https://genius.com/Mbongeni-ngema-freedom-is-coming-lyrics
-snip-
"Freedom Is  Coming Tomorrow" is song #4 in the album Sarafina! The Sound Of Freedom (Original Motion Picture Soundtrack) (2006)
-snip-
from https://en.wikipedia.org/wiki/Mbongeni_Ngema
"
Mbongeni Ngema (10 May 1955 – 27 December 2023) was a South African playwright, lyricist, composer, director, choreographer, and theatre producer, best known for co-writing the 1981 play Woza Albert! and co-writing (with Hugh Masekela) the 1988 musical Sarafina!. He was known for plays that reflected the spirit of black South Africans under apartheid, and won much praise for his work, but was also the subject of several controversies. He died in a car accident on 27 December 2023."...

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From https://en.wikipedia.org/wiki/Hugh_Masekela
"Hugh Ramapolo Masekela (4 April 1939 – 23 January 2018)[1] was a South African trumpeter, flugelhornist, cornetist, singer and composer who was described as "the father of South African jazz". Masekela was known for his jazz compositions and for writing well-known anti-apartheid songs such as "Soweto Blues" and "Bring Him Back Home". He also had a number-one US pop hit in 1968 with his version of "Grazing in the Grass".

[...]

Following the 21 March 1960 Sharpeville massacre—where 69 protestors were shot dead in Sharpeville, and the South African government banned gatherings of ten or more people—and the increased brutality of the Apartheid state, Masekela left the country. He was helped by Trevor Huddleston and international friends such as Yehudi Menuhin and John Dankworth, who got him admitted into London's Guildhall School of Music in 1960.[14] During that period, Masekela visited the United States, where he was befriended by Harry Belafonte.[15] After securing a scholarship back in London,[2] Masekela moved to the United States to attend the Manhattan School of Music in New York, where he studied classical trumpet from 1960 to 1964.[16] In 1964, Miriam Makeba and Masekela were married, divorcing two years later.

[Hugh Masekela] also collaborated in the musical development for the Broadway play Sarafina!, which premiered in 1988.[30][31]"...

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Visitor comments are welcome.

Tuesday, March 5, 2024

Timeline Of Music Development In The Nation Of South Africa (online article excerpt)

Edited by Azizi Powell

This pancocojams post presents an excerpt of an online article entitled "The development of Music in South Africa timeline 1600-2004". 

The content of this post is presented for historical, cultural, and educational purposes.

All copyrights remain with their owners.

Thanks to the South African History Online writer/s and online publisher/s of this article. 
-snip-
Click https://pancocojams.blogspot.com/2024/03/the-influence-of-late-19th-century.html for the closely related pancocojams post entitled "The Influence Of Late 19th Century African American Minstrel Groups Performing In South Africa On South African Music".

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PANCOCOJAMS EDITOR'S NOTES
Pancocojams blog visitors are encouraged to read this entire article although the complete timeline (including the portions that I didn't quote] doesn't list (and probably wasn't intended to list) the entire numbers of music genres in the nation of South Africa.

For example, this time line doesn't list any religious genres of music in South Africa including Zionist churches singing styles and popular Gospel choirs such as Joyous Celebration. 

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 THE DEVELOPMENT OF MUSIC IN SOUTH AFRICA TIMELINE 1600-2004

 https://www.sahistory.org.za/article/development-music-south-africa-timeline-1600-2004

"1600s

 In the Dutch colonial era, from the 17th century on, indigenous tribes people and slaves imported from the east adapted Western musical instruments and ideas.

The Khoi-Khoi developed the ramkie, a guitar with three or four strings, based on that of Malabar slaves. They used it to blend Khoi and Western folk songs.

Then there was the mamokhorong. It was a single-string violin that was used by the Khoi in their own music making and in the dances of the colonial centre, Cape Town, which rapidly became a melting pot of cultural influences from all over the world.

The governor of the Cape had his own slave orchestra in the 1670s.

1800s

In a style similar to that of British marching military bands, coloured (mixed race) bands of musicians began parading through the streets of Cape Town in the early 1820s, a tradition that was given added impetus by the travelling minstrel shows of the 1880s. This tradition has continued to the present day with the great carnival held in Cape Town every New Year.

The penetration of missionaries into the interior over the succeeding centuries also had a profound influence on South African musical styles. In the late 1800s, early African composers such as John Knox Bokwe began composing hymns that drew on traditional Xhosa harmonic patterns.

The development of a black urban proletariat and the movement of many black workers to the mines in the 1800s meant that differing regional traditional folk music met and began to flow into one another. Western instrumentation was used to adapt rural songs, which in turn started to influence the development of new hybrid styles of music-making (as well as dances) in the developing urban centres.

1860s

In the mid-1800s, travelling minstrel shows began to visit South Africa. As far as can be ascertained, these minstrels were at first white performers in "black-face", but by the 1860s black American minstrel troupes had begun to tour the country. They sang spirituals of the American South, and influenced many South African groups to form themselves into similar choirs; soon regular meetings and competitions between such choirs were popular, forming an entire subculture that continues to this day.

1890s

Orpheus McAdoo and the Virginia Jubilee Singers were among the most popular of the visiting minstrel groups, touring the country four times. African American spirituals were made popular in the 1890s by Orpheus McAdoo's Jubilee Singers

1897

Enoch Sontonga, then a teacher, composed the hymn Nkosi Sikelel' iAfrika (God Bless Africa) Early 1900s

In the early 20th century, governmental restrictions on black poeple increased, including a nightly curfew which kept the night life in Johannesburg relatively small for a city of its size (then the largest city south of the Sahara).

The Marabi music style formed in the slum yards that resulted from the increasing urbanisation of black South Africans into mining centres such as the Witwatersrand. The sound of marabi was intended to draw people into the shebeens (bars selling homemade liquor or skokiaan) and then to get them dancing. Marabi was played on pianos with accompaniment from pebble-filled cans. Over the succeeding decades, the marabi-swing style developed into early mbaqanga, the most distinctive form of South African jazz

1912

South African popular music began in 1912 with the first commercial recordings.

1920s

Marabi's melodies found their way into the sounds of the bigger dance bands, modelled on American swing groups, which began to appear in the 1920s; Marabi added to their distinctively South African style. Such bands, which produced the first generation of professional black musicians in South Africa, achieved considerable popularity, particularly in the 1930s and 1940s: star groups such as The Jazz Maniacs, The Merry Blackbirds and the Jazz Revelers rose to fame, winning huge audiences among both blacks and whites.

1930s

The beginnings of broadcast radio for black listeners. This resulted in the growth of an indigenous recording industry and helped popularize black South African music. The 1930s also saw the spread of Zulu a cappella singing from the Natal area to much of South Africa.

1933

Eric Gallo's Brunswick Gramophone House sent several South African musicians to London to record for Singer Records. Gallo went on to begin producing music in South Africa.

1939

The tradition of minstrelsy, joined with other forms, contributed to the development of isicathamiya, This music form had its first major hit this year with the song "Mbube", an adaptation of a traditional Zulu melody which has been recycled and reworked innumerable times since then, often known as "The Lion Sleeps Tonight".

Solomon Linda's Original Evening Birds, recorded "Mbube" it was probably the first African recording to sell more than 100,000 copies.

1940s

From the late 1940s to the 1960s, a form of music called isikhwela jo was popular, though national interest waned in the 50s until Radio Zulu began broadcasting across Natal, Transvaal and the Orange Free State.

1950s

South African music came into International prominence with the formation of Kwela (Zulu for 'get-up' or in township slang it also referred to the police vans, the "kwela-kwela") music, which was greatly influenced by Marabi sounds. The primary instrument of kwela, in the beginning, was the pennywhistle, a cheap and simple instrument that was taken up by street performers in the shantytowns. Lemmy Mabaso was one of the most notable musicians of this genre.

The older strains of marabi and kwela saw the birth of what is broadly thought of as mbaqanga, the mode of African-inflected jazz that had many and various practitioners, with a large number of bands competing for attention and income. Singing stars such as Miriam Makeba, Dolly Rathebe and Letta Mbulu gained fanatical followings.

Later in the 1950s a new black urban music culture started to emerge in Sophiatown. Marabi met with traditional dance styles such as the Zulu indlamu and American big band swing. The indlamu tendency resulted in the "African stomp" style, giving a notably African rhythmic impulse to the music.

The lawless domain which was Sophiatown was one in which black people could interact with the more adventurous, liberal whites drawn to the excitements of its nightlife, becoming a touchstone for the first real cultural and social interchange between the races to take place in South Africa.

Miriam Makeba was a central figure in the African jazz scene throughout the 1950s. By the early 1960s, she was an international star and brought attention to South African apartheid.

1951

Willard Cele appeared in the film The Magic Garden, which spawned a legion of more imitators and fans. Willard Cele is credited with creating pennywhistle by placing the six-holed flute between his teeth at an angle.

1954

Spokes Mashiyane's "Ace Blues" became the biggest African hit of the year and launched pennywhistle as a mainstream genre.

1955

The most progressive jazz-lovers of Sophiatown formed the Sophiatown Modern Jazz Club, propagating the sounds of bop innovators such as Charlie Parker and Dizzy Gillespie. The jazz club sponsored gatherings and from such meetings grew South Africa's first bebop band, the important and influential Jazz Epistles: The earliest members were musicians destined to shape South African jazz from then on: Dollar Brand, Kippie Moeketsi, Jonas Gwangwa and Hugh Masekela.

1959

The recording "Tom Hark" by Elias Lerole and His Zigzag Flutes was a hit around the world.

In 1959, American pianist John Mehegan organized a recording session using many of the most prominent South African jazz musicians, resoluting in the first two African jazz LPs.

1960s

The white Nationalist government brought the musically vital era, Sophiatown, to an end. They forcibly removed the inhabitants of Sophiatown to townships such as Soweto, outside Johannesburg. Sophiatown was razed and the white suburb of Triomf built in its place.

In the wake of the Sharpeville Massacre in 1960 and the subsequent State of Emergency and mass arrests, bannings and trials of activists challenging apartheid laws, more and more musicians found it necessary to leave the country.

Many key figures in South African jazz developed their talents and their careers outside the country in the years of increasing repression, amoung them were: Dollar Brand (later Abdullah Ibrahim, after his conversion to Islam), Hugh Masekela, Jonas Gwangwa, Caiphas Semenya, Letta Mbulu, and Miriam Makeba Well-known South African Jazz band, The Blue Notes, left for England in 1960. The band included: Chris MacGregor, Dudu Pukwana, Mongezi Feza, Johnny Dyani and Louis Moholo.

[…].

The First Cold Castle National Jazz Festival was held in 1960, which brought additional attention to South African jazz. Cold Castle became an annual event for a few year, and brought out more musicians, especially Dudu Pukwana, Gideon Nxumalo and Chris McGregor.

1962

The South African government launched a development programme for Bantu Radio in order to foster separate development and encourage independence for the Bantustans. Though the government had expected Bantu Radio to play folk music, African music had developed into numerous pop genres, and the nascent recording studios used radio to push their pop stars. The new focus on radio led to a government crackdown on lyrics, censoring songs which were considered a "public hazard".

Abdullah Ibrahim went overseas for the first time, to Switzerland. The pianist-composer met and impressed Duke Ellington himself, who sponsored his first recordings.

1963

The 1963 Cold Castle festival produced an LP called Jazz The African Sound, but government oppression soon ended the jazz scene. Again, many musicians emigrated to the UK or other countries.

[…]

1970s

[…]

1973

Ladysmith Black Mambazo, headed by the sweet soprano of Joseph Shabalala, released their first album, Amabutho, which was also the first gold record by black musicians. This band became perhaps the biggest stars in South Africa's history, reforming the sound of Zulu a cappella.

1975

American disco was imported to South Africa, and disco beats were added to soul music.

1976

South African children rebelled en masse against apartheid and governmental authority, and a vibrant, youthful counterculture was created, with music as an integral part of its focus. Few South African bands gained a lasting success during this period, however, with the exception of the Movers, who used marabi elements in their soul.

[…]

1980s

The 1980s saw the appearance of Afro-jazz bands such as Sakhile and Bayete, marrying the sounds of American fusion and ancient African patterns, to considerable commercial success.

A genre of music referred to as 'bubblegum' emerged from the townships.

[…]

At the same time, a crossover was beginning to happen between black and white musicians.

Johnny Clegg, a sociologist who learnt so much about Zulu music and dance that he formed his own group, Juluka, with Sipho Mchunu, led the charge. Juluka's ability to mix traditional Zulu music with white pop and folk was in itself a challenge to the racial boundaries the apartheid regime attempted to erect between blacks and whites. With often a more pop-driven style, bands such as eVoid, Via Afrika and Mango Groove followed the crossover trail blazed by Clegg (hailed overseas as "the white Zulu"), whose later band, Savuka, continued to reproduce his earlier success.

Hugh Masekela set up a mobile studio in Botswana, just over the South African border. Here he collaborated with West and Central African musicians.

1980

Following international superstar Bob Marley's concert celebrating Zimbabwe's independence in 1980, reggae took hold across Africa. Lucky Dube was the first major South African artists; his style was modelled most closely on that of Peter Tosh.

[…]

The late 1980s saw the rise of Yvonne Chaka Chaka, beginning with her 1984 hit "I'm in Love With a DJ", which was the first major hit for bubblegum.

1985

Brenda Fassie's huge hit 'weekend special' was released. Brenda Fassie is perhaps the most controversial and the best-known figure in township pop.

This is also the year that fifty-four American pop artists, calling themselves "Artists United Against Apartheid" released the track "Sun City," which includes the lyric "Relocation to phony homelands Separation of families I can't understand Twenty-three million can't vote because they're black We're stabbing our brothers and sisters in the back." The song was nominated for a Grammy award and raised more than one million dollars for the anti-apartheid cause.

1986

Ladysmith Black Mambazo took their first step into the international arena via Paul Simon on his Graceland album in 1986.

1990s

[…]

In the 1990s, a new style of township music grabbed the attention and the hearts of South Africa's black youth. That music was kwaito, probably now the biggest force in the South African music scene.

[…]

1994

In 1994, South African media was liberalized and new musical styles arose. Prophets of Da City became known as a premier hip hop crew, though a South Africanized style of hip hop known as kwaito soon replaced actual hip hop groups. In kwaito, synthesizers and other electronic instruments are common, and slow jams adopted from Chicago house musicians like The Fingers, Tony Humphries and Robert Owen are also standard. Stars of kwaito include Trompies, Bongo Maffin and Boom Shaka.

1997

Brenda Fassie made a significant comeback with her album "Memeza" (meaning "Shout"), which spawned the huge hit "Vulindlela" ("Clear the path" or "Make way").

[…]

-end of timeline- 

Produced 21 March 2011

Last Updated 26 May 2023


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Visitor comments are welcome.

Sunday, October 22, 2023

South African Prophet Ntsikana's Great Hymn (Information, Two YouTube Examples, & Partial Lyrics)





Noted, September 1,2022
-snip-
"Noted" is a South African Seven Day Adventist a capella group.
 
Click https://www.youtube.com/watch?v=B9o_jNMgKMU for a 2015 YouTube video of this song sung by a South African choir. The song begins at .50 in this video

****
Edited by Azizi Powell

This pancocojams post presents information about South African Prophet Ntsikana and showcases the composition entitled "Great Hymn" that is attributed to him.

The content of this post is presented for historical, religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Prophet  for his religious and cultural legacies. Thanks to the choir that is featured in this post. Thanks also to all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2023/10/2010-journal-excerpt-sing-on-ntsikana.html 
for the closely related pancocojams post entitled "2010 Journal Excerpt: "Sing on, Ntsikana: The Story of Christian Music Among the Xhosa people of South Africa" By Jonathan Knight"

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INFORMATION ABOUT PROPHET NTSIKANA AND THE COMPOSITIONS THAT ARE ATTRIBUTED TO HIM
Excerpt #1
From https://en.wikipedia.org/wiki/Ntsikana
"Ntsikana (born 1780-1821) was a Christian Xhosa prophet, evangelist and hymn writer who is regarded as one of the first Christians to translate Christian ideas and concepts into terms understandable to a Xhosa audience.[1]

[...]

Music

Ntsikana also composed Christian hymns in isiXhosa which included “Intsimbi” (Ntsikana’s Bell),“Dalibom (Life-Creator), “Ingoma engqukuva” (Round Hymn) and “Ulo Thixomkulu” (“Thou Great God” - the Great Hymn).[2]

(Some of the so called hymns he “composed” have been proved to have been sung by the Xhosas king way before he was born.)

Legacy

Ntsikana is regarded as one of the first Christians who tried to adapt Christianity to African culture."....

****
Excerpt #2 
From 
https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1013&context=musicalofferings Musical Offerings, vol. 1, no. 1, pp.21-31. ISSN 2167-3799

© 2010, Jonathan Knight, licensed under CC BY-NC-ND "Sing on, Ntsikana: The Story of Christian Music Among the Xhosa people of South Africa"

[by] Jonathan Knight, Cedarville University

"... 26 Knight ⦁ Sing on, Ntsikana

As the missionaries attempted to reshape the Xhosa concept of music, they immediately encountered significant difficulties. As the missionaries translated Protestant hymn texts directly into Xhosa, they failed to recognize the tonal nature of the language.3

Words in Xhosa have different meanings depending on changes in tone. In some Xhosa phrases, each word has its own individual tone! This is a linguistic characteristic shared by other nearby peoples, including the Zulu and Sotho.

[...]

It does not appear that any missionaries at this time considered teaching the Xhosa people to write Christian music in their own tradition. Instead, it was Ntsikana who embarked into uncharted territory, composing songs for his congregation (Stone, 763). He personified his peoples’ attempts not to be culturally whitewashed by Western influences. His first and greatest song, now known as the “Great Hymn,” was composed the night following his conversion in 1814. He claimed to receive the Holy Spirit immediately, and stayed awake the entire night singing the chorus of his great composition (322). His contact with missionaries was minimal, so he “composed” in the only style he knew: the style of his people. It was not long before Xhosa choirs began performing the song, accompanied by dance (Somniso, 135). It has been passed on orally to this day (Stone, 763). In fact, his “Great Hymn” is “regarded as the summit achievement of Xhosa song” (Elphick, 322). It is also considered “the prototype of church music in a Traditional Xhosa style” (Hawn, 128). 
In fact, his “Great Hymn” is “regarded as the summit achievement of Xhosa song” (Elphick, 322). It is also considered “the prototype of church music in a Traditional Xhosa style” (Hawn, 128). Here is a portion of the text of this hymn, “Ulo Tixo mkulu” as translated by David Dargie:

You are the Great God who dwells in the heavens.
You are the true shield.
You are the true fortress.
You are the true forest [of refuge].
It is you who dwells in the highest.
You created life, you created on high.
You are the creator creates the heavens.
You created the stars and the Pleiades.
A Star flashed forth, being us your message.*
You created the blind – did you create them for a purpose? 

3. These translated hymn texts were set to a variety of European melodies, and at times the combinations bordered on ridiculous. Hawn writes that, “totally absurd pairings of text and tunes sometimes resulted, such as singing the Latin hymn “Tantum Ergo’ in Latin to the tune of ‘My Darling Clementine.’” (108) Musical Offerings

[*Pancocojams Editor's note: "being us your message might be a typo for "bringing us your message."] 

2010 ⦁ Volume 1 ⦁ Number 1 27 The trumpet sounded, it has called for us. You’re the hunter who hunts souls. You gather together flocks rejecting each other. You are the Great Blanket with which we are clothed. Your hands are wounded. Your feet are wounded. Your blood – why is it streaming? Your blood was poured out for us. Are we worthy of such a ransom? Are we worthy to enter your homestead? (Hawn, 134)

From the outset, this text reveals traditional Xhosa literary forms. For instance, rhyme in Xhosa songs consists in repeated words or phrases that give poetic as well as musical rhythm of the song. This can be seen in the first stanza, where the words, “You are” give continuity to this unit of text. The original word order actually brings this out with further clarity. Here are the first four lines of the first stanza in Xhosa:

Ulo Thixo oMkhulu, ngoseZulwini
Unguwena-wena Khaka leNyaniso
Unguwena-wena Nqaba yeNyaniso
Unguwena-wena Hlathi leNyaniso
(Somniso, 137)

The parallelism stands out clearly in the repetition of “Unguwena-wena,” in lines one through three, and “leNyaniso” in lines two and four.

Rhythmically, this song employs the additive rhythm 3+3+2, which is common in Xhosa music style. Clapping from the congregation reinforces the rhythm. The choir sings a basic three-voice cycle on the words, “Ahomna, homna, hom, homna, hom.” The leader then sings out the stanzas above the pattern of the choir and accompaniment (Hawn, 133). Harmonically, it begins on an F Major chord, moves to a G Major chord, and ends on an F Major chord. It would therefore have been well-suited for accompaniment by the uhadi, (musical bow).

By the mid-1800s, the song was already widely known through oral transmission, and had been solidly established as a national song, and a freedom song for the Xhosa (Elphick, 323). It stands out significantly that Ntsikana’s songs, like his theology, are complex hybrid of African, European, and Christian. Stone writes that Ntsikana’s style “strikingly infuses protestant hymnody with the stateliness of Xhosa melody, harmony, and rhythm” (Stone, 763).

[..]

In the late 1800’s, a man named John Knox Bokwe played an important role in reinvigorating the musical legacy of Ntsikana, and adapting Xhosa music to the solfege system. His parents and grandparents were faithful disciples of Ntsikana, and he was the first Xhosa to be ordained, serving as a choirmaster in the Presbyterian church (Stone, 763). Bokwe spent much time studying Ntsikana’s musical works, and published a series of transcriptions of Ntsikana’s hymns between 1878 and 1914 (Elphick, 323)."...

****
Excerpt #3
From https://hymnary.org/text/ahomna_homna_lentsimbi_kantsikana
"Author: Ntsikana

(no biographical information available about Ntsikana.) Go to person page >

 Transcriber: David Dargie

A Roman Catholic priest for many years, Fr. Dargie observed that many priests resorted to using European or North American melodies they knew and ignored the rich heritage of South African music, especially the music of the Xhosa and Zulu peoples. For example, the venerable Latin chant “Tantum Ergo Sacramentum” (a communion hymn attributed to St. Thomas Aquinas), was sung in one parish to “My Darling Clementine”! For Fr. Dargie, a white South African of Scots-Irish lineage, part of the liberation of black South Africans from the political oppression of apartheid was to encourage them to sing their Christian faith with their own music rather than in the musical idioms of their colonial oppressors…

Text Information

Text Information Languages

First Line:  Ahomna, homna! Lentsimbi KaNtsikana (Great God, O listen to us)

Title:  Ntsikana's Song

Xhosa Title: Ahomma

Author: Ntsikana

Transcriber: David Dargie

Language:  English; Xhosa

Publication Date: 1999

Notes:   South Africa

Copyright: Transcription © 1981 David Dargie. Administered by Choristers Guild"

****
Excerpt #4
https://www.rienner.com/title/Ntsikana_His_Great_Hymn_and_His_Enduring_Legacy_on_Black_Consciousness "Ntsikana: His Great Hymn and His Enduring Legacy on Black Consciousness", by Janet Hodgson, 2023
"DESCRIPTION

Janet Hodgson traces the life of Xhosa prophet Ntsikana (1780–1821) from his birth through his years as a Christian convert, evangelist, and composer of enduring hymns.

Ntsikana is known as one of the first Christians to adapt Christian ideas to African culture, writing hymns in isiXhosa and translating concepts into terms that resonated with his Xhosa community. Even today, his hymns are among the most important in the amaXhosa churches, and he is regarded as an important symbol of both African unity and Black Consciousness."
-snip-
South African scholar Janet Hodgson also wrote "Ntsikana's Great Hymn A Xhosa Expression of Christianity in the Early 19th Century Eastern Cape" in 1980 https://www.google.com/books/edition/Ntsikana_s_Great_Hymn/hx8RAQAAIAAJ?hl=en

****
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Visitor comments are welcome.

2010 Journal Excerpt: "Sing on, Ntsikana: The Story of Christian Music Among the Xhosa people of South Africa" By Jonathan Knight

Edited by Azizi Powell

Latest revision - Oct. 22, 2023

This pancocojams post presents information about South African Prophet Ntsikana.

This post also presents an excerpt from the 2010 journal article entitled "Sing on, Ntsikana: The Story of Christian Music Among the Xhosa people of South Africa."

Pancocojams readers are encouraged to read the complete article.

****
The content of this post is presented for historical, educational, and cultural purposes.

All copyrights remain with their owners.

Thanks to Jonathan Wright for his research and writing and thanks to Ntsikana and others documented in this article for their cultural and musical legacies. Thanks to digitalcommons.cedarville.edu for its online publication of this Musical Offerings journal article.
-snip-
Click 
https://pancocojams.blogspot.com/2023/10/south-african-prophet-ntsikanas-great.html for the closely related pancocojams post entitled "South African Prophet Ntsikana's Great Hymn (Information, YouTube Video, & Partial Lyrics)".

****
INFORMATION ABOUT PROPHET NTSIKANA
From https://en.wikipedia.org/wiki/Ntsikana
"
Ntsikana (born 1780-1821) was a Christian Xhosa prophet, evangelist and hymn writer who is regarded as one of the first Christians to translate Christian ideas and concepts into terms understandable to a Xhosa audience.[1]

[...]

Music

Ntsikana also composed Christian hymns in isiXhosa which included “Intsimbi” (Ntsikana’s Bell),“Dalibom (Life-Creator), “Ingoma engqukuva” (Round Hymn) and “Ulo Thixomkulu” (“Thou Great God” - the Great Hymn).[2]

(Some of the so called hymns he “composed” have been proved to have been sung by the Xhosas king way before he was born.)

Legacy

Ntsikana is regarded as one of the first Christians who tried to adapt Christianity to African culture."
-snip-
Given this information and the information in the journal article excerpted below, it's likely that early on the currently popular isiXhosa Christian hymn "Ndikhoklele Bawo" and some other IsiXhosa hymns were first sung in praise of Xhosa kings before being adopted as Christian hymns.

****
ARTICLE EXCERPT 
From https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1013&context=musicalofferings

 "Musical Offerings, vol. 1, no. 1, pp.21-31. ISSN 2167-3799

© 2010, Jonathan Knight, licensed under CC BY-NC-ND "Sing on, Ntsikana: The Story of Christian Music Among the Xhosa people of South Africa"

[by] Jonathan Knight, Cedarville University

"The Xhosa, a people group united by language and history, occupied a large portion of what is now eastern South Africa prior to the arrival of Europeans. The Dutch were the first white men to touch South African’s shores, and the British followed soon after. The forward progress of European forces caused the expulsion of the Xhosa from their native, ancestral land. But the seeds of Christianity were planted through contact with (mainly) English missionaries who told them the story of Jesus. One of the earliest converts to Christianity, Ntsikana, was also the first Xhosa to compose music meant to worship their newfound Savior. Though this music in the traditional Xhosa style lay dormant for some time, enthusiastic Xhosa ministers in the past century have done much to learn from and expand upon the musical, spiritual legacy of Ntsikana. A unique blend of European and South African music has birthed among Xhosa Christians a distinct flavor of worship, which, though reflecting foreign influences, strongly retains indigenous traditions.

[…]

Musical Offerings ⦁ 2010 ⦁ Volume 1 ⦁ Number 1 25

.... Ntsikana was instrumental in spreading Christianity. He had a much greater influence than the missionaries in bringing the faith to his people. He also gave his people another gift, one that continues to impact them today, side-by-side with their faith: originally composed hymns. 

At the time when Ntsikana began composing hymns, the idea of writing Christian music in an African musical idiom was unheard of. The European hymn was standard among the missionaries in South Africa, and from the beginning of the 19th century this form, with its straight rhythms and four-part harmonies, was established by the missionaries as the standard for black church music.

[...]

Missionaries encouraged the Xhosa to reform their ideas of music. This meant compartmentalizing the arts according to the European manner. Interestingly, the Xhosa had no abstract word for “music” in their language. Instead, they conceived of music in terms of the activities which it accompanied: the song, the dance, even the role of the singers. The Xhosa word i-culo was chosen by the missionaries to represent music in a European fashion. The missionaries’ music was strictly diatonic, with careful avoidance of African rhythm. Their intent was to make a clear distinction between the cultural music making they were familiar with, which was an integral part of Xhosa community life, and the “Christian” music that was appropriate in church and school (Somniso, 132). Today i-culo retains the definition given by the English, and is defined in Kropf’s Xhosa dictionary as “originally a short song, now a hymn” (Elphick, 319). It refers exclusively to “church or school singing performed without bodily movement” (320).

The European system was clearly inadequate for rendering the complexities of traditional Xhosa music effectively. However, some Western music did roughly resemble the established Xhosa tonal system, which was patterned on major triads. Two major triads a whole step apart (such as F and G) made up the fundamental harmonic movement in the Xhosa musical system. 2

 2 This tonal system have developed based on the performing instrument of choice, the uhabi, or “musical bow.” The overtones produced by this instrument (manipulated by the player) are the basis for their harmonic system. Elphick notes that, “the repeated use of major chords in the diatonic harmony of pieces like Handel’s ‘Hallelujah Chorus’ was appealing to the Xhosa ears”(Elphick, 320).

26 Knight Sing on, Ntsikana

As the missionaries attempted to reshape the Xhosa concept of music, they immediately encountered significant difficulties. As the missionaries translated Protestant hymn texts directly into Xhosa, they failed to recognize the tonal nature of the language.3

Words in Xhosa have different meanings depending on changes in tone. In some Xhosa phrases, each word has its own individual tone! This is a linguistic characteristic shared by other nearby peoples, including the Zulu and Sotho. The pattern proceeds as follows: “the first phrase begins high, falls (through the steps of the word tone), and ends lower; the new phrase begins high again, but lower than the phrase before, then falls at its end, and so on” (Elphick, 321). Thus, the meaning of a translated hymns often proved to be humorous, at best, though more often they became totally absurd (Hawn, 108). For some reason early missionaries were either ignorant of this problem or chose to ignore it. Others sought to adjust selected syllables to alleviate the problem (Elphick, 321).

It does not appear that any missionaries at this time considered teaching the Xhosa people to write Christian music in their own tradition. Instead, it was Ntsikana who embarked into uncharted territory, composing songs for his congregation (Stone, 763). He personified his peoples’ attempts not to be culturally whitewashed by Western influences. His first and greatest song, now known as the “Great Hymn,” was composed the night following his conversion in 1814. He claimed to receive the Holy Spirit immediately, and stayed awake the entire night singing the chorus of his great composition (322). His contact with missionaries was minimal, so he “composed” in the only style he knew: the style of his people. It was not long before Xhosa choirs began performing the song, accompanied by dance (Somniso, 135). It has been passed on orally to this day (Stone, 763). In fact, his “Great Hymn” is “regarded as the summit achievement of Xhosa song” (Elphick, 322). It is also considered “the prototype of church music in a Traditional Xhosa style” (Hawn, 128).

[...]

After Ntsikana’s death in 1821, his followers, as well as some missionaries, set out to transcribe his hymns, which, though performed choirs everywhere, were


28 Knight ⦁ Sing on, Ntsikana

not accessible apart from oral transmission. But transcriptions in English (Sol-Fa) singing style (with rigid rhythm) failed to do justice to the African harmonies.4 Nevertheless, the stiff musical tastes of the missionaries did not stop the Africans from keeping their music their own. Choirs continued to perform the hymn according to their culturally conditioned sense of harmony, a practice that has been termed “Afro-diatonic” music. African singers instinctively bend the diatonic scale to match their “sweeter” tonal system. They incorporated blue notes into their choral sound, adjusting the scale degrees as they feel the need. This instinctive harmonic freedom produces the sound that makes African choirs distinct. Each singer moves parallel to the melody, searching for the next court member by ear. Even in the absence of traditional rhythms, they refused to surrender their musical voice (Elphick 320).

In the late 1800’s, a man named John Knox Bokwe played an important role in reinvigorating the musical legacy of Ntsikana, and adapting Xhosa music to the solfege system. His parents and grandparents were faithful disciples of Ntsikana, and he was the first Xhosa to be ordained, serving as a choirmaster in the Presbyterian church (Stone, 763). Bokwe spent much time studying Ntsikana’s musical works, and published a series of transcriptions of Ntsikana’s hymns between 1878 and 1914 (Elphick, 323). Bokwe’s “revival” of Ntsikana’s work proved to be the first in a growing tradition of Christian Xhosa songwriters. The Catholic Church has been the most notable example of a Christian group to encourage and facilitate worship in an African style. The papal encyclical Musicae sacrae in 1955 first “encouraged missionaries to promote local music for use in worship.” South Africa was among the first African nations to begin widespread usage of culturally traditional music in church worship5 (Elphick, 321). With the unique influence of Ntsikana in South Africa, this comes as no surprise!

In the 1960s, Catholic missionaries began actively assisting the Xhosa (and other tribes) in composing liturgical music in traditional styles. This shift took place following the historic Vatican II, 1962–1965, which opened the doors for indigenous liturgies. These were days of “encouragement in creativity and
experimentation” (Hawn, 108).

In 1965, prolific Xhosa composer (in western style) Benjamin Peter John Tyamzashe was commissioned by Fritz Lobinger and Oswalt Hirmer, members of the Lumko Missiological Institute, to write a liturgical piece in Xhosa style. Tyamzashe had not considered composing music in his native style before, so he 

4 The Sol-Fa (solfege) method of singing was developed by a British educator named John Curwen.

5 The use of African musical idioms today is most notably seen in the Zionist churches of South Africa, the first of which were planted in the early 1900. This “denomination” was formed with the specific intent of resisting white religious domination and worshiping in an African way. (Peires, 136; Elphick 323)

 Musical Offerings ⦁ 2010 ⦁ Volume 1 ⦁ Number 1 29

turned to Ntsikana’s hymns for inspiration (Hawn, 108). The result was his “Gloria,” the first original piece of Christian Xhosa music written in traditional style since the death of Ntsikana over 140 years earlier (Elphick, 321). 

David Dargie, a Catholic missionary, was next to pick up the baton in the growing momentum of Xhosa composition. At first glance, a white priest would not appear to be an effective candidate for promoting ethnic African music. But, as a third generation South African and outstanding musicologist, Dargie has proved to be a central figure in training the Xhosa in composition and performance of their native music, in both liturgical and cultural life (Hawn, 108). He himself is an accomplished composer and performer of traditional Xhosa music, and between 1977 and 1986 he organized a number of composition workshops for local Xhosa pastors. At these seminars, appropriate liturgical texts were suggested, musicians were brought in for demonstration and inspiration, and a panel of ministers developed the music together. At the ends of the seminar, recording of their work were produced, for pastors to take back to their congregations. In this way clergy and congregations could fully embrace their African heritage of oral tradition in learning and performing liturgical music, instead of remaining dependent on Western notation to learn the songs.

These slow steps of musical progress all took place under the crushing hand of “apartheid” policy under British rule. The system legislated segregation and suppression of Africans until it dissolved in 1998. Since then, “choral singing, clapping, body movement, and even drumming is entering worship in the mainline churches more and more often, most of all in those churches in areas where the spirit of resistance to apartheid had been strongest” (Elphick, 325).

Western musical elements certainly maintain their presence through strictly notated music, “to be performed under a conductor’s baton by uniformly robed choirs” (Elphick, 325). But many choirs continue to interpret music with a strong African flair. The resistance that the Xhosa demonstrated in the face of cultural oppression is a microcosm, revealing a larger movement among Africans to claim back their traditional heritage. …. Although highly influenced by European and Christian traditions, Xhosa music today remains, at its core, African."
-snip-
This journal article includes an extensive bibliography.

****

Thanks for visiting pancocojams. 

Visitor comments are welcome.  

Thursday, July 14, 2022

South African Protest Song (Toyi Toyi) - "Nantsi Mellow Yellow"


Edited by Azizi Powell

This pancocojams post presents general information about "toyi toyi", a South African way of protest marching that is often accompanied by chanting and singing.

This post also presents specific information about the toyi toyi song entitled "Nantsi Mellow Yellow" and showcases several videos of  that protest song.

The content of this post is presented for historical, cultural, and educational purposes.

All copyrights remain with their owners.

Thanks to all those who have toyi toyied in the past and who still toyi toyi for righteous causes and thanks to the unknown composers of toyi toyi songs. Thanks also to all those who are featured in these videos and thanks to all those who are quoted in this post. Thanks also to the publishers of these videos on YouTube.

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GENERAL INFORMATION ABOUT TOYI TOYI
From https://theculturetrip.com/africa/south-africa/articles/toyi-toyi-south-africas-spirited-dance-of-protest/ by Andrew Thompson, 11 June 2018
"For more than 40 years, black South Africans rejected the oppressive apartheid regime with non-violent protests, turning to music and dance. At the heart of this was a form of protest dance, the toyi-toyi, which to this day stands out as a powerful resistance against the status quo at protests and gatherings around the country.

The period of protest against the apartheid regime was dubbed ‘the struggle’, and despite some of the deepest moments of hopelessness and despair, it was a time punctuated by powerful music. Those leading the battle against apartheid used music and dance to communicate a strong message, unite people on the ground, and motivate them to keep pushing forward.

Music and dance as a form of protest

Even during some of the country’s most devastating protests, when unarmed Africans were shot in cold blood, or often in the back, there was a resilient spirit driven by song which lead iconic musician Hugh Masekela to say: “We will go down in history as an army that spent a lot of time singing, rather than fighting”.

Although some of this singing and dancing might have been perceived as almost joyous – and certainly much of it by the likes of Masekela was – there was an unmistakable rhythmic aggression to the toyi-toyi dance that had the ability to strike fear into the hearts of the various apartheid-era security forces trying to quell any unrest.

[…]

The power and efficacy of the dance was, and is, multi-faceted. The rhythmic high-stepping movements, with loud stomping and synchronous chants and singing, resembled a war dance of sorts. It was a clear indication from protesters that they were not going to settle for anything less than an overthrow of the status quo

[…]

A protest movement so deeply ingrained in the psyche of its people will not disappear quickly, and in present day South Africa the toyi-toyi is still common at protests. Although protesters may not be fighting against a racist and oppressive regime today, toyi-toying is still used as a way to unite against new issues, such as access to land, education, and other basic human rights that have yet to reach parts of the country.

Even though the target of the toyi-toyi may have shifted, the dance is still a powerful rallying cry. It is a true symbol of the triumph of the spirit of South Africans pushing back in the face of adversity.”
-snip-
Click https://pancocojams.blogspot.com/2014/01/toyi-toyi-south-african-protest-dance.html for the pancocojams post entitled "Toyi Toyi (South African protest dance) information & videos". This is Part I of a two part pancocojams series on Toyi Toyis. The link for Part II is included in that post. 

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SPECIFIC INFORMATION ABOUT "NANTSI MELLOW YELLOW" TOYI TOYI SONG
Excerpt #1: 

https://www.youtube.com/watch?v=TaJY8g4iIZ8

Toyi Toyi - Song, published by TV YABANTU, Mar 20, 2015

[This video can only be viewed on YouTube.]

Selected comments from the discussion thread of this embedded video. Numbers added for referencing purposes only

1. Seneca Forch, 2015
"What is the name of this song?"

**
Reply
2. Mbali Ntshingila, 2017
"Seneca Forch Mellow Yellow"
-snip-
Another commenter wrote that this was an ANC song.

**
3.  Amelia Felix, 2017
"what beautiful voices .... this sound reminds me of watching them toyi toyi down  commissioner street back in 1993"

**
4. kelvin buobi, 2021
"What does this song means,  : Nantsi Mellow Yellow ?"

**
Reply
5. Sibulele Solilo, 2022
"During apartheid, there was a police vehicle called the Hippo it was yellow in colour whe the army and police were deployed in the townships they used to go into the townships driving them. So saying nantsi yellow mellow was a warning to the others that the police/army has arrived."
-snip-
Google translate from Xhosa to English: Nantsi = "Here it is".

****
Excerpt #2
From https://twitter.com/tjatjaragnative/status/410317365071843328

Tjatjarag Natives

@TjatjaragNative

"nantsi mellow yellow, tshisa, tshisa, nantsizosdubula.." #MandelaMemorial

@AzaniaMatiwane

 #SABCNews *crowds singing*

Translate Tweet*

2:57 AM · Dec 10, 2013·Twitter for iPad

* "here is mellow yellow, hot, hot, nantsizosdubula .." #MandelaMemorial
-snip-
Google translate from Xhosa to English: nantsizosdubula = here's a shot

**
cmon lekota

@CLekota

Feb 8, 2020

Replying to

@TjatjaragNative

 and

@AzaniaMatiwane
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This tweet consists of a photograph of the mellow yellow vehicle that was used by the South African government in response to apartheid protests. 

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ADDITIONAL YOUTUBE VIDEOS OF THE SONG "NANTSI MELLOW YELLOW"

SHOWCASE VIDEO #2: 
Nantsi iMellow-YellowπŸ’£



Gwijo Avenue,  May 6, 2022
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In this video, "Nantsi Mellow Yellow" is sung as a gwijo. Here are a few comments from this video's discussion thread (with numbers added for referencing purposes only)

1. Eugen Mathebula, 2022
"Gwijo πŸ”₯πŸ”₯πŸ”₯"

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2. 
Branchboiiz_backsquad15_ Tree Clan, 2022
"Can you sing like it is originally and not add spice to it please πŸ₯ΊπŸ‘"

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Reply
3. Thembi Mdolo, 2022
"We want the spices. We enjoy them"

**
4. PK Special, 2022
"You guys just took me back to 1976 The Massacre in Starpville ✊"
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Here's information gwijos from https://www.jeremydetolly.com/blog/ep39
"Amagwijo is a particular Xhosa practice of collective singing deeply embedded in African culture. It takes the form of call and response (“I say something//You say something I hear you//You hear me. We’re in dialogue together”). Because Gwijo uses no instruments (other than the voice), it could be described as a cappella. For the amaXhosa people of South Africa, Gwijo songs have traditionally been sung to accompany weddings, funerals, initiations and other rites of passage and sacred moments."...
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Since 2019, groups of Black South Africans sports fans have begun singing gwijos at ruby and football (soccer) games. Many of these gwijos are toyi toyi songs.
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Click http://pancocojams.blogspot.com/2020/09/online-information-about-south-african.html for a 2020 pancocojams post entitled "Online Information About South African Amagwijos ("Gwijos")".

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SHOWCASE VIDEO #3: 
PAC Struggle Songs - Mellow Yellow


Thando 'Moziah' Sipuye, Jun 24, 2020 

PAC Commemoration of June 16 Soweto Students Uprising organized by Karl Zimbiri Wizza Military Camp, featuring the OUR STORY exhibition. Held on 16 June 2020 in Soweto.
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Here's an excerpt about the June 16 Sowet Students Uprising from https://www.sahistory.org.za/article/june-16-soweto-youth-uprising
..."When the language of Afrikaans alongside English was made compulsory as a medium of instruction in schools in 1974, black students began mobilizing themselves. On 16 June 1976 between 3000 and 10 000 students mobilized by the South African Students Movement's Action Committee supported by the BCM marched peacefully to demonstrate and protest against the government’s directive. The march was meant to culminate at a rally in Orlando Stadium.

On their pathway they were met by heavily armed police who fired teargas and later live ammunition on demonstrating students. This resulted in a widespread revolt that turned into an uprising against the government. While the uprising began in Soweto, it spread across the country and carried on until the following year. 

The aftermath of the events of June 16 1976 had dire consequences for the Apartheid government. Images of the police firing on peacefully demonstrating students led an international revulsion against South Africa as its brutality was exposed. Meanwhile, the weakened and exiled liberation movements received new recruits fleeing political persecution at home giving impetus to the struggle against Apartheid. "...

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