ÿþ<html> <head><title>FolkWorld Article: Music of South Africa</title></head> <body bgcolor="#FFF2E6" link="#DC143C" alink="#FF3300" vlink="#4B0082"> <p><font size=4 color="4169e1"><font FACE="Maiandra GD">FolkWorld</font> Issue 42 07/2010; Article from Wikipedia, the free encyclopedia </font> </p> <br> <table align="left" width=100 cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td> <p><center><img src="../p/fifa.gif" width=140 height=161 border=0 alt="FIFA 2010"> <IMG SRC="../../p/icon_movie_kl.gif" height=10 width=13 alt="Icon Movie"> <font size=1><b>@ <a HREF="http://www.youtube.com/watch?v=ESlIyHfw0us">www.youtube.com</a></font></b> </center> </td></tr> </table> <table align="right" width=130 cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td> <p><center><a href="../../frog/africa1.html#sou"><img src="../../p/southafr.gif" width=96 height=64 border=0 alt=""> <b><font size=-1>S.Africa @ FROG</a></b></font> </center> </td></tr> </table> <center> <p><b><font color="#ff0000" size="7">Music of South Africa</font><br> <font color="#008000" size="5">From Wikipedia, the free encyclopedia</font> </b></p> </center> <p><font size=4> What is to be heard outside of the football stadiums and its vuvuzelas at the 2010 World Cup in South Africa? Probably <i>kwaito</i> music, i.e. percussive house beats combined with chants in Zulu, Xhosa and Township English. The motto is supposed to be: <i>jabulani</i> - bringing joy to everyone! </font></p> <p>The <b><a href="http://en.wikipedia.org/wiki/South_Africa" title="South Africa">South African</a> <a href="http://en.wikipedia.org/wiki/Music" title="Music">music</a></b> scene includes both <a href="http://en.wikipedia.org/wiki/Pop_music" title="Pop music">popular</a> (jive) and <a href="http://en.wikipedia.org/wiki/Folk_music" title="Folk music">folk</a> forms. Pop styles are based on two major sources, <a href="http://en.wikipedia.org/wiki/Zulu" title="Zulu">Zulu</a> <a href="http://en.wikipedia.org/wiki/Isicathamiya" title="Isicathamiya">isicathamiya</a> singing and harmonic <a href="http://en.wikipedia.org/wiki/Mbaqanga" title="Mbaqanga">mbaqanga</a>. South Africa is very diverse, with many native African <a href="http://en.wikipedia.org/wiki/Ethnic_group" title="Ethnic group">Ethnic groups</a> as well as European and Indian peoples.</p> <h2><span class="mw-headline" id="Early_South_African_music">Early South African music</span></h2> <p>Christian <a href="http://en.wikipedia.org/wiki/Mission_(Christian)" title="Mission (Christian)">missions</a> provided the first organized musical training in the country, bringing to light many of the modern country's earliest musicians, including <a href="http://en.wikipedia.org/wiki/Enoch_Sontonga" title="Enoch Sontonga">Enoch Sontonga</a>, who wrote the <a href="http://en.wikipedia.org/wiki/National_anthem" title="National anthem">national anthem</a> <i><a href="http://en.wikipedia.org/wiki/Nkosi_Sikelel%27_iAfrika" title="Nkosi Sikelel' iAfrika">Nkosi Sikelel' iAfrika</a></i>. By the end of the nineteenth century, South African cities like <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town</a> were large enough to attract foreign musicians, especially American <a href="http://en.wikipedia.org/wiki/Ragtime" title="Ragtime">ragtime</a> players. <a href="http://en.wikipedia.org/wiki/African_American" title="African American">African American</a> <a href="http://en.wikipedia.org/wiki/Spiritual_(music)" title="Spiritual (music)">spirituals</a> were popularized in the 1890s by Orpheus McAdoo's Jubilee Singers.</p> <h2><span class="mw-headline" id="The_1920s">The 1920s</span></h2> <h3><span class="mw-headline" id="Marabi">Marabi</span></h3> <p>In the early twentieth century, governmental restrictions on blacks increased, including a nightly <a href="http://en.wikipedia.org/wiki/Curfew" title="Curfew">curfew</a> which kept the night life in <a href="http://en.wikipedia.org/wiki/Johannesburg" title="Johannesburg">Johannesburg</a> relatively small for a city of its size (then the largest city south of the <a href="http://en.wikipedia.org/wiki/Sahara" title="Sahara">Sahara</a>). <a href="http://en.wikipedia.org/wiki/Marabi" title="Marabi">Marabi</a>, a style from the slums of Johannesburg, was popular.</p> <p>Marabi was played on <a href="http://en.wikipedia.org/wiki/Piano" title="Piano">pianos</a> with accompaniment from pebble-filled cans, often in <a href="http://en.wikipedia.org/wiki/Shebeen" title="Shebeen">shebeens</a>, establishments that illegally served alcohol to blacks. By the 1930s, however, marabi had incorporated new instruments, <a href="http://en.wikipedia.org/wiki/Guitar" title="Guitar">guitars</a>, <a href="http://en.wikipedia.org/wiki/Concertina" title="Concertina">concertinas</a> and <a href="http://en.wikipedia.org/wiki/Banjo" title="Banjo">banjos</a>, and new styles of marabi had sprung up. Among these were a marabi/<a href="http://en.wikipedia.org/wiki/Swing_music" title="Swing music">swing</a> fusion called African jazz and jive, a generic term for any popular marabi style of music.</p> <p>South African popular music began in 1912 with the first commercial recordings, but only began booming after 1930 when 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, beginning in 1933. His company, <a href="http://en.wikipedia.org/wiki/Gallo_Record_Company" title="Gallo Record Company">Gallo Record Company</a>, remains the largest and most successful label in South Africa, having had acclaimed artists such as <a href="http://en.wikipedia.org/wiki/Solomon_Linda" title="Solomon Linda">Solomon Linda</a>, <a href="http://en.wikipedia.org/wiki/Ladysmith_Black_Mambazo" title="Ladysmith Black Mambazo">Ladysmith Black Mambazo</a>, <a href="http://en.wikipedia.org/wiki/Miriam_Makeba" title="Miriam Makeba">Miriam Makeba</a>, <a href="http://en.wikipedia.org/wiki/Mahlathini_and_the_Mahotella_Queens" title="Mahlathini and the Mahotella Queens">Mahlathini and the Mahotella Queens</a> and many more pass through the recording studios.</p> <h3><table align="right" cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td><img src="../p/ladysmith.jpg" width=320 width=240 border=0 alt="Ladysmith Black Mambazo"> <p><center><a href="http://www.mambazo.com"><b>www.mambazo.com</b></a> </center> </td></tr> </table> <span class="mw-headline" id="Gospel">Gospel</span></h3> <p>In the early twentieth century, <a href="http://en.wikipedia.org/wiki/Zionist_Christians" title="Zionist Christians" class="mw-redirect">Zionist Christian</a> churches spread across South Africa. They incorporated African musical elements into their worship, thus inventing South African gospel music which remains one of the most popular forms of music in the country today.(source)</p> <h2><span class="mw-headline" id="The_1930s">The 1930s</span></h2> <h3><span class="mw-headline" id="A_cappella">A cappella</span></h3> <p>The 1930s also saw the spread of Zulu a cappella singing from the <a href="http://en.wikipedia.org/wiki/KwaZulu-Natal_Province" title="KwaZulu-Natal Province" class="mw-redirect">Natal</a> area to much of South Africa. The style's popularity, finally producing a major star in 1939 with <a href="http://en.wikipedia.org/wiki/Solomon_Linda%27s_Original_Evening_Birds" title="Solomon Linda's Original Evening Birds" class="mw-redirect">Solomon Linda's Original Evening Birds</a>, whose "<a href="http://en.wikipedia.org/wiki/Mbube_(song)" title="Mbube (song)" class="mw-redirect">Mbube</a>" ("The Lion") was probably the first African recording to sell more than 100,000 copies. It also provided the basis for two further American pop hits, <a href="http://en.wikipedia.org/wiki/The_Weavers" title="The Weavers">The Weavers</a>' "Wimoweh" (1951) and <a href="http://en.wikipedia.org/wiki/The_Tokens" title="The Tokens">The Tokens</a>' "<a href="http://en.wikipedia.org/wiki/The_Lion_Sleeps_Tonight" title="The Lion Sleeps Tonight">The Lion Sleeps Tonight</a>" (1961). Linda's music was in a style that came to be known as <a href="http://en.wikipedia.org/wiki/Mbube" title="Mbube">mbube</a>. From the late 1940s to the 1960s, a harsh, strident form called isikhwela jo was popular, though national interest waned in the 50s until Radio Zulu began broadcasting to Natal, <a href="http://en.wikipedia.org/wiki/Transvaal_Province" title="Transvaal Province">Transvaal</a> and the <a href="http://en.wikipedia.org/wiki/Orange_Free_State" title="Orange Free State">Orange Free State</a> in 1962 (see <a href="http://en.wikipedia.org/wiki/Music_of_South_Africa#1950s:_Bantu_Radio_and_pennywhistle" title="Music of South Africa">1950s: Bantu Radio and pennywhistle</a> for more details).</p> <p>Also formed in this era, the <a href="http://en.wikipedia.org/wiki/Stellenbosch_University_Choir" title="Stellenbosch University Choir">Stellenbosch University Choir</a>, part of the <a href="http://en.wikipedia.org/wiki/University_of_Stellenbosch" title="University of Stellenbosch" class="mw-redirect">University of Stellenbosch</a>, is the oldest running choir in the country and was formed in 1936 by <a href="http://en.wikipedia.org/wiki/William_Morris" title="William Morris">William Morris</a>, also the first conductor of the Choir. The current conductor is Andre van der Merwe. They specialise in a cappella music and consist of students from the <a href="http://en.wikipedia.org/wiki/University_of_Stellenbosch" title="University of Stellenbosch" class="mw-redirect">University</a>.</p> <h3><span class="mw-headline" id="Afrikaans_music">Afrikaans music</span></h3> <p><a href="http://en.wikipedia.org/wiki/Afrikaans_language" title="Afrikaans language" class="mw-redirect">Afrikaans</a> music was primarily influenced by <a href="http://en.wikipedia.org/wiki/Netherlands" title="Netherlands">Dutch</a> folk styles, along with <a href="http://en.wikipedia.org/wiki/France" title="France">French</a> and <a href="http://en.wikipedia.org/wiki/Germany" title="Germany">German</a> influences, in the early twentieth century. <a href="http://en.wikipedia.org/wiki/Zydeco" title="Zydeco">Zydeco</a>-type string bands led by a <a href="http://en.wikipedia.org/wiki/Concertina" title="Concertina">concertina</a> were popular, as were elements of American <a href="http://en.wikipedia.org/wiki/Country_music" title="Country music">country music</a>, especially <a href="http://en.wikipedia.org/wiki/Jim_Reeves" title="Jim Reeves">Jim Reeves</a>. Melodramatic and sentimental songs called <i>trane trekkers</i> (tear jerkers) were especially common. In 1996 the South African Music scene changed from the Tranetrekkers to more lively sounds and the introduction of new names in the market with the likes of Nádine, Kurt Darren and Nicolis Louw. Afrikaans music is currently one of the most popular and best selling industries on the South African music scene.</p> <p>After <a href="http://en.wikipedia.org/wiki/World_War_I" title="World War I">World War I</a>, <a href="http://en.wikipedia.org/wiki/Afrikaner" title="Afrikaner">Afrikaner</a> nationalism spread and musicians like <a href="http://en.wikipedia.org/wiki/Accordion" title="Accordion">accordionist</a> <a href="http://en.wikipedia.org/wiki/Nico_Carstens" title="Nico Carstens">Nico Carstens</a> were popular.</p> <h2><span class="mw-headline" id="The_1950s">The 1950s</span></h2> <h3><span class="mw-headline" id="Bantu_Radio_and_the_Music_Industry">Bantu Radio and the Music Industry</span></h3> <p>By the 1950s, the music industry had diversified greatly, and included several major labels. In 1962, the South African government launched a development programme for Bantu Radio in order to foster separate development and encourage independence for the <a href="http://en.wikipedia.org/wiki/Bantustan" title="Bantustan">Bantustans</a>. 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".</p> <h3><span class="mw-headline" id="Pennywhistle_jive">Pennywhistle jive</span></h3> <p>The first major style of South African popular music to emerge was pennywhistle jive (later known as <a href="http://en.wikipedia.org/wiki/Kwela" title="Kwela">kwela</a>). Black cattle-herders had long played a three-holed reed flute, adopting a six-holed flute when they moved to the cities. Willard Cele is usually credited with creating pennywhistle by placing the six-holed flute between his teeth at an angle. Cele spawned a legion of imitators and fans, especially after appearing in the 1951 film <i><a href="http://en.wikipedia.org/wiki/The_Magic_Garden" title="The Magic Garden">The Magic Garden</a></i>.</p> <p>Groups of flautists played on the streets of South African cities in the 1950s, many of them in white areas, where police would arrest them for creating a public disturbance. Some young whites were attracted to the music, and came to be known as <a href="http://en.wikipedia.org/wiki/Ducktail" title="Ducktail" class="mw-redirect">ducktails</a>, rebellious <a href="http://en.wikipedia.org/wiki/Juvenile_delinquent" title="Juvenile delinquent" class="mw-redirect">juvenile delinquents</a> who called the flute music <a href="http://en.wikipedia.org/wiki/Kwela" title="Kwela">kwela</a>. Pennywhistle jive also spread outside of South Africa, through migrant workers, to <a href="http://en.wikipedia.org/wiki/Lesotho" title="Lesotho">Lesotho</a>, <a href="http://en.wikipedia.org/wiki/Swaziland" title="Swaziland">Swaziland</a> and most importantly <a href="http://en.wikipedia.org/wiki/Malawi" title="Malawi">Malawi</a>.</p> <p><table align="right" cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td><img src="../p/makeba.jpg" width=240 height=320 border=0 alt="Miriam Makeba"> <p><center><a href="http://www.miriammakeba.co.za"><b>www.miriammakeba.co.za</b></a> </td></tr> </table> In spite of pennywhistle's popularity, there was little commercial recording until 1954, when <a href="http://en.wikipedia.org/wiki/Spokes_Mashiyane" title="Spokes Mashiyane">Spokes Mashiyane</a>'s "Ace Blues" became the biggest African hit of the year and launched pennywhistle as a mainstream genre. More stars emerged, including Sparks Nyembe, Jerry Mlotshwa, Abia Temba and Black Mambazo, whose 1957 "Tom Hark" was another big hit, both at home and in the United Kingdom. Mashiyane continued his innovation, however, ending the pennywhistle boom he had begun with "Big Joe Special" in 1958, which featured a <a href="http://en.wikipedia.org/wiki/Saxophone" title="Saxophone">saxophone</a> and changed South African popular music.</p> <p>Jazz had been popular in South Africa before the 1950s, especially swing music. Cape Province was a hotbed for South African jazz bands at the time, but <a href="http://en.wikipedia.org/wiki/Johannesburg" title="Johannesburg">Johannesburg</a> became the capital for South African jazz. The city boasted bands like the Harlem Swingsters, and musicians like Ellison Temba, Elijah Nkanyane, Ntemi Piliso, Wilson Silgee and Isaac NkosiL.</p> <p>Female jazz vocalists were particularly popular in South Africa in the 40s and 50s, with <a href="http://en.wikipedia.org/wiki/Dolly_Rathebe" title="Dolly Rathebe">Dolly Rathebe</a> being the first star. She also starred in the first African feature film, 1948's <i>Jim Comes to Jo'burg</i>. Rathebe was followed by other singers, including <a href="http://en.wikipedia.org/wiki/Dorothy_Masuka" title="Dorothy Masuka">Dorothy Masuka</a> and, most famously, <a href="http://en.wikipedia.org/wiki/Miriam_Makeba" title="Miriam Makeba">Miriam Makeba</a>. Male singers were rarer, and included the <a href="http://en.wikipedia.org/wiki/Manhattan_Brothers" title="Manhattan Brothers">Manhattan Brothers</a> and the African Inkspots.</p> <p>Miriam Makeba was a central figure in the African jazz scene throughout the 1950s, starring in <i><a href="http://en.wikipedia.org/wiki/King_Kong" title="King Kong">King Kong</a></i>, for example, a musical crossover called a "jazz opera" by the show's promoters. By the early 1960s, she was an international star and brought attention to South African apartheid. While abroad, the government revoked her right of return and she moved to the United States. There, she married <a href="http://en.wikipedia.org/wiki/Stokely_Carmichael" title="Stokely Carmichael">Stokely Carmichael</a> (of the <a href="http://en.wikipedia.org/wiki/Black_Panthers" title="Black Panthers" class="mw-redirect">Black Panthers</a>) but was hounded by authorities and eventually left for <a href="http://en.wikipedia.org/wiki/Guinea" title="Guinea">Guinea</a>. Makeba was far from the only jazz musician to flee South Africa; many stayed in the <a href="http://en.wikipedia.org/wiki/United_States" title="United States">United States</a> or the <a href="http://en.wikipedia.org/wiki/United_Kingdom" title="United Kingdom">UK</a> following concerts, and never returned to South Africa.</p> <h2><span class="mw-headline" id="The_1960s">The 1960s</span></h2> <p>In the 60s, a smooth form of mbube called cothoza mfana developed, led by the King Star Brothers, who invented <a href="http://en.wikipedia.org/wiki/Isicathamiya" title="Isicathamiya">isicathamiya</a> style by the end of the decade.</p> <p>By the 1960s, the saxophone was commonplace in jive music, the performance of which continued to be restricted to townships. The genre was called sax jive and later <a href="http://en.wikipedia.org/wiki/Mbaqanga" title="Mbaqanga">mbaqanga</a>. Mbaqanga literally means <i>dumpling</i> but implies <i>home-made</i> and was coined by Michael Xaba, a jazz saxophonist who did not like the new style.</p> <p>The early 1960s also saw performers like bassist Joseph Makwela and guitarist Marks Mankwane add electric instruments and marabi and kwela influences to the mbaqanga style, leading to a funkier and more African sound.</p> <p>Mbaqanga developed vocal harmonies during the very early 1960s when groups like <a href="http://en.wikipedia.org/wiki/The_Skylarks" title="The Skylarks">The Skylarks</a> and the <a href="http://en.wikipedia.org/wiki/Manhattan_Brothers" title="Manhattan Brothers">Manhattan Brothers</a> began copying American vocal bands, mostly <a href="http://en.wikipedia.org/wiki/Doo_wop" title="Doo wop" class="mw-redirect">doo wop</a>. Rather than African American four part harmonies, however, South African bands used five parts. The Dark City Sisters were the most popular vocal group in the early 1960s, known for their sweet style. Aaron Jack Lerole of Black Mambazo added groaning male vocals to the female harmonies, later being replaced by <a href="http://en.wikipedia.org/wiki/Mahlathini" title="Mahlathini">Simon 'Mahlathini' Nkabinde</a>, who has become perhaps the most influential and well-known South African "groaner" of the twentieth century. Marks Mankwane and Joseph Makwela's mbaqanga innovations evolved into the more danceable mgqashiyo sound when the two joined forces with Mahlathini and the new female group <a href="http://en.wikipedia.org/wiki/Mahotella_Queens" title="Mahotella Queens">Mahotella Queens</a>, in Mankwane's backing group <a href="http://en.wikipedia.org/wiki/Makhona_Tsohle_Band" title="Makhona Tsohle Band" class="mw-redirect">Makhona Tsohle Band</a> (also featuring Makwela along with saxophonist-turned-producer <a href="http://en.wikipedia.org/wiki/West_Nkosi" title="West Nkosi">West Nkosi</a>, rhythm guitarist Vivian Ngubane, and drummer Lucky Monama). The Mahlathini and the Mahotella Queens/Makhona Tsohle outfit recorded as a studio unit for <a href="http://en.wikipedia.org/wiki/Gallo_Record_Company" title="Gallo Record Company">Gallo Record Company</a>, to great national success, pioneering mgqashiyo music all over the country to equal success.</p> <p>1967 saw the arrival of Izintombi Zesi Manje Manje, an mgqashiyo female group that provided intense competition for Mahotella Queens. Both groups were massive competitors in the jive field, though the Queens usually came out on top.</p> <h3><span class="mw-headline" id="Soul_and_jazz">Soul and jazz</span></h3> <p>The late 1960s saw the rise of <a href="http://en.wikipedia.org/wiki/Soul_music" title="Soul music">soul music</a> from the United States. Singers like <a href="http://en.wikipedia.org/wiki/Wilson_Pickett" title="Wilson Pickett">Wilson Pickett</a> and <a href="http://en.wikipedia.org/wiki/Percy_Sledge" title="Percy Sledge">Percy Sledge</a> were especially popular, and inspired South African performers to enter the field with an organ, a bass-and-drum rhythm section and an electric guitar.</p> <p> <table align="right" cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td><img src="../p/masekela.jpg" width=306 height=225 border=0 alt="Hugh Masekela"> <p><center><a href="http://en.wikipedia.org/wiki/Hugh_Masekela"><font size=-1><b>en.wikipedia.org/wiki/Hugh_Masekela</b></font></a> </td></tr> </table> Jazz in the 1960s split into two fields. Popular dance bands like the Elite Swingsters were popular, while avant-garde jazz inspired by the work of <a href="http://en.wikipedia.org/wiki/John_Coltrane" title="John Coltrane">John Coltrane</a>, <a href="http://en.wikipedia.org/wiki/Thelonious_Monk" title="Thelonious Monk">Thelonious Monk</a> and <a href="http://en.wikipedia.org/wiki/Sonny_Rollins" title="Sonny Rollins">Sonny Rollins</a> was also common. The latter field of musicians included prominent activists and thinkers, including <a href="http://en.wikipedia.org/wiki/Hugh_Masekela" title="Hugh Masekela">Hugh Masekela</a>, <a href="http://en.wikipedia.org/wiki/Dollar_Brand" title="Dollar Brand" class="mw-redirect">Dollar Brand</a>, <a href="http://en.wikipedia.org/wiki/Kippie_Moeketsi" title="Kippie Moeketsi">Kippie Moeketsi</a>, <a href="http://en.wikipedia.org/wiki/Sathima_Bea_Benjamin" title="Sathima Bea Benjamin">Sathima Bea Benjamin</a>, <a href="http://en.wikipedia.org/wiki/Chris_McGregor" title="Chris McGregor">Chris McGregor</a>, <a href="http://en.wikipedia.org/wiki/Johnny_Dyani" title="Johnny Dyani">Johnny Dyani</a> and <a href="http://en.wikipedia.org/wiki/Jonas_Gwangwa" title="Jonas Gwangwa">Jonas Gwangwa</a>. In 1959, American pianist <a href="http://en.wikipedia.org/wiki/John_Mehegan" title="John Mehegan">John Mehegan</a> organized a recording session using many of the most prominent South African jazz musicians, resoluting in the first two African jazz LPs. The following year saw the Cold Castle National Jazz Festival, which brought additional attention to South African jazz. Cold Castle became an annual event for a few years, and brought out more musicians, especially <a href="http://en.wikipedia.org/wiki/Dudu_Pukwana" title="Dudu Pukwana">Dudu Pukwana</a>, Gideon Nxumalo and <a href="http://en.wikipedia.org/wiki/Chris_McGregor" title="Chris McGregor">Chris McGregor</a>. The 1963 festival produced a LP called <i>Jazz The African Sound</i>, but government oppression soon ended the jazz scene. Again, many musicians emigrated to the UK or other countries.</p> <h2><span class="mw-headline" id="The_1970s">The 1970s</span></h2> <h3><span class="mw-headline" id="Mgqashiyo_and_Isicathamiya">Mgqashiyo and Isicathamiya</span></h3> <p>By the 1970s, only a few long-standing mgqashiyo groups were well-known, with the only new groups finding success with an all-male line-up. Abafana Baseqhudeni and Boyoyo Boys were perhaps the biggest new stars of this period. The Mahotella Queens' members began leaving the line-up around 1971 for rival groups. Gallo, by far the biggest record company in South Africa, began to create a new Mahotella Queens line-up, recording them with Abafana Baseqhudeni. Lead groaner Mahlathini had already moved to rival label EMI (in early 1972), where he had successful records with backing team Ndlondlo Bashise and new female group the Mahlathini Girls. The new Mahotella Queens line-up over at Gallo found just as much success as the original Queens, recording on-and-off with new male groaners such as Robert Mbazo Mkhize of Abafana Baseqhudeni.</p> <p><a href="http://en.wikipedia.org/wiki/Ladysmith_Black_Mambazo" title="Ladysmith Black Mambazo">Ladysmith Black Mambazo</a>, headed by the sweet soprano of <a href="http://en.wikipedia.org/wiki/Joseph_Shabalala" title="Joseph Shabalala">Joseph Shabalala</a>, arose in the 1960s, and became perhaps the biggest <a href="http://en.wikipedia.org/wiki/Isicathamiya" title="Isicathamiya">isicathamiya</a> stars in South Africa's history. Their first album was 1973's <i><a href="http://en.wikipedia.org/wiki/Amabutho_(album)" title="Amabutho (album)">Amabutho</a></i>, which was also the first gold record by black musicians; it sold over 25,000 copies. Ladysmith Black Mambazo remained popular throughout the next few decades, especially after 1986, when <a href="http://en.wikipedia.org/wiki/Paul_Simon" title="Paul Simon">Paul Simon</a>, an American musician, included Ladysmith Black Mambazo on his extremely popular <i><a href="http://en.wikipedia.org/wiki/Graceland_(album)" title="Graceland (album)">Graceland</a></i> album and its subsequent tour of 1987.</p> <p>With progressive jazz hindered by governmental suppression, marabi-styled dance bands rose to more critical prominence in the jazz world. The music became more complex and retained popularity, while progressive jazz produced only occasional hits, like Winston Ngozi's "Yakal Nkomo" and Dollar Brand's "Mannenburg".</p> <h3><span class="mw-headline" id="Punk_rock">Punk rock</span></h3> <p>During the <a href="http://en.wikipedia.org/wiki/Punk_rock" title="Punk rock">punk rock</a> boom of the late 1970s, UK punk-influenced South African bands like Wild Youth and Powerage gained a cult following, focused in <a href="http://en.wikipedia.org/wiki/Durban" title="Durban">Durban</a> whilst in and around <a href="http://en.wikipedia.org/wiki/Johannesburg" title="Johannesburg">Johannesburg</a> bands such as Dog Detachment and The Radio Rats had a similar following on the fringes of the music scene. Cape Town also had its own scene with the Safari Suits, House Wives Choice, Lancaster band, The News and Permanent Force (aka Private File after BOSS intervention) taking the lead, soon followed by the Rude Dementals, Fred Smith Band and Riot Squad. Many gigs took place at The Scratch Club (run by Gerry Dixon and Henry Coombes), UCT and other local venues,and some of the aforementioned bands passed through on tours.</p> <h3><span class="mw-headline" id="Disco">Disco</span></h3> <p>In the middle of the 70s, American disco was imported to South Africa, and disco beats were added to soul music, which helped bring a halt to popular mbaqanga bands such as the <a href="http://en.wikipedia.org/wiki/Mahotella_Queens" title="Mahotella Queens">Mahotella Queens</a>. In 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. Styles from before the 1970s fusion of disco and soul were not widely regarded, and were perceived as being sanctioned by the white oppressors. Few South African bands gained a lasting success during this period, however, with the exception of the <a href="http://en.wikipedia.org/wiki/Movers" title="Movers" class="mw-redirect">Movers</a>, who used marabi elements in their soul. The Movers were followed by the Soul Brothers, and the instrumental band <a href="http://en.wikipedia.org/wiki/The_Cannibals" title="The Cannibals">The Cannibals</a>, who soon began working with singer Jacob "Mpharanyana" Radebe. The coloured (not black) band Flames also gained a following, and soon contributed two members (<a href="http://en.wikipedia.org/wiki/Blondie_Chaplin" title="Blondie Chaplin">Blondie Chaplin</a> and <a href="http://en.wikipedia.org/wiki/Ricky_Fataar" title="Ricky Fataar">Ricky Fataar</a>) to American band <a href="http://en.wikipedia.org/wiki/The_Beach_Boys" title="The Beach Boys">The Beach Boys</a>. <a href="http://en.wikipedia.org/wiki/Harari" title="Harari">Harari</a> arose in their place, eventually moving to an almost entirely rock and roll sound. One of Harari's members, <a href="http://en.wikipedia.org/wiki/Sipho_Mabuse" title="Sipho Mabuse">Sipho 'Hotstix' Mabuse</a> became a superstar in the 1980s.</p> <h2><span class="mw-headline" id="The_1980s">The 1980s</span></h2> <h3><span class="mw-headline" id="Alternative_rock_and_Afrikaans">Alternative rock and Afrikaans</span></h3> <p>The early 1980s brought popular attention on <a href="http://en.wikipedia.org/wiki/Alternative_rock" title="Alternative rock">alternative rock</a> bands like The Usual and Scooter's Union. In and around Johannesburg the growth of the independent music scene led to not just a surge of bands ranging from big names (relatively speaking) Tribe after Tribe, The Dynamics and The Softies through to smaller hopefuls What Colours, Days Before and No Exit, but also to the growth of a vibrant DIY fanzine scene with "Palladium" and "One Page to Many" two titles of note.</p> <p>South African alternative rock grew more mainstream with two leading bands, Asylum Kids from Johannesburg and <a href="http://en.wikipedia.org/wiki/Peach" title="Peach">Peach</a> from Durban having chart success and releasing critically acclaimed albums. The burgeoning music scene around Johannesburg saw a surge of small bands, inspired and informed by the UK DIY punk ethic, form and start performing at a growing number of venues from clubs the likes of Metalbeat, Bluebeat, King of Clubs, DV8 and Dirtbox to student run venues such as GR Bozzoli Hall and later the Free People Concert on the <a href="http://en.wikipedia.org/wiki/University_of_the_Witwatersrand" title="University of the Witwatersrand">University of the Witwatersrand</a> campus.</p> <p>One artist of specific note to come from this era was <a href="http://en.wikipedia.org/wiki/James_Phillips_(musician)" title="James Phillips (musician)">James Phillips</a> who was involved with several influential and important bands including Corporal Punishment; Cherry Faced Lurchers; and his Afrikaans alter ego <a href="http://en.wikipedia.org/wiki/Bernoldus_Niemand" title="Bernoldus Niemand" class="mw-redirect">Bernoldus Niemand</a> (roughly translates as Bernard Nobody). With his Bernoldus Niemand character, James managed to cross the language division and influence a whole range of Afrikaans speaking musicians to the same punk ethic that had inspired him, and an important Afrikaans alternative rock scene grew from this influence.</p> <p>During this period, the only Afrikaners to achieve much mainstream fame were Anton Goosen, a rock singer-songwriter, and <a href="http://en.wikipedia.org/wiki/Bles_Bridges" title="Bles Bridges">Bles Bridges</a>, an imitator of American <a href="http://en.wikipedia.org/wiki/Lounge_music" title="Lounge music">lounge</a> singer <a href="http://en.wikipedia.org/wiki/Wayne_Newton" title="Wayne Newton">Wayne Newton</a>.</p> <h3><span class="mw-headline" id="International_attention">International attention</span></h3> <p><table align="right" cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td><img src="../../32/p/clegg.jpg" height=262 width=211 border=0 alt="Johnny Clegg"> <p><center><a href="http://www.johnnyclegg.com"><b>www.johnnyclegg.com</b></a> </td></tr> </table> The original <a href="http://en.wikipedia.org/wiki/Mahotella_Queens" title="Mahotella Queens">Mahotella Queens</a> line-up reunited with Mahlathini and the Makgona Tsohle Band in 1983, due to unexpected demand from mgqashiyo and mbaqanga fans. <a href="http://en.wikipedia.org/wiki/Ladysmith_Black_Mambazo" title="Ladysmith Black Mambazo">Ladysmith Black Mambazo</a> took their first step into the international arena via <a href="http://en.wikipedia.org/wiki/Paul_Simon" title="Paul Simon">Paul Simon</a> on his <i><a href="http://en.wikipedia.org/wiki/Graceland_(album)" title="Graceland (album)">Graceland</a></i> album in 1986, where a series of reissue albums by US label <a href="http://en.wikipedia.org/wiki/Shanachie" title="Shanachie" class="mw-redirect">Shanachie</a> sold very well. Mambazo became world travellers, touring the world and collaborating with various Western musicians to massive success. The <i>Graceland</i> album not only propelled Mambazo into the spotlight, but paved the way for other South African acts (including Mahlathini and the Queens, Amaswazi Emvelo, Moses Mchunu, Ray Phiri and Stimela, and others) to become known worldwide as well.</p> <p><a href="http://en.wikipedia.org/wiki/Johnny_Clegg_(musician)" title="Johnny Clegg (musician)" class="mw-redirect">Johnny Clegg</a> got his start in the 1970s playing Zulu-traditional music with <a href="http://en.wikipedia.org/wiki/Sipho_Mchunu" title="Sipho Mchunu">Sipho Mchunu</a>, and became prominent as the only major white musician playing traditional black music, achieving success in France as "Le Zoulou Blanc" (<i>The White Zulu</i>). The 1980s also saw a resurgence in rock and roll bands like <a href="http://en.wikipedia.org/wiki/The_Helicopters" title="The Helicopters">The Helicopters</a>, <a href="http://en.wikipedia.org/wiki/Petit_Cheval" title="Petit Cheval">Petit Cheval</a>, <a href="http://en.wikipedia.org/wiki/Sterling_(band)" title="Sterling (band)">Sterling</a> and <a href="http://en.wikipedia.org/wiki/Tellinger" title="Tellinger" class="mw-redirect">Tellinger</a>.</p> <h3><span class="mw-headline" id="Reggae">Reggae</span></h3> <p>The most lasting change, however, may have been the importation of <a href="http://en.wikipedia.org/wiki/Reggae" title="Reggae">reggae</a> from Jamaica. Following international superstar <a href="http://en.wikipedia.org/wiki/Bob_Marley" title="Bob Marley">Bob Marley</a>'s concert celebrating Zimbabwe's independence in 1980, reggae took hold across Africa. <a href="http://en.wikipedia.org/wiki/Lucky_Dube" title="Lucky Dube">Lucky Dube</a> was the first major South African artists; his style was modelled most closely on that of <a href="http://en.wikipedia.org/wiki/Peter_Tosh" title="Peter Tosh">Peter Tosh</a>. Into the 1990s, Lucky Dube was one of the best-selling artists in South African history, especially his 1990 album <i><a href="http://en.wikipedia.org/wiki/Slave_(album)" title="Slave (album)">Slave</a></i>. The 90s also saw Jamaican music move towards <a href="http://en.wikipedia.org/wiki/Ragga" title="Ragga">ragga</a>, an electronic style that was more influential on <a href="http://en.wikipedia.org/wiki/Kwaito" title="Kwaito">kwaito</a> (South African <a href="http://en.wikipedia.org/wiki/Hip_hop_music" title="Hip hop music">hip hop music</a>) than reggae. A group from the Free State called Oyaba also emerged during this period. Their best known hit songs are Tomorrow Nation, <a href="http://en.wikipedia.org/wiki/Paradise" title="Paradise">Paradise</a> and <a href="http://en.wikipedia.org/wiki/Love_Crazy" title="Love Crazy">Love Crazy</a>. Reggae became quite popular and there was also a singer from <a href="http://en.wikipedia.org/wiki/KwaZulu-Natal" title="KwaZulu-Natal">KwaZulu-Natal</a>, Sipho Johnson known as <a href="http://en.wikipedia.org/wiki/Jumbo" title="Jumbo">Jumbo</a> who gave the likes of <a href="http://en.wikipedia.org/wiki/Lucky_Dube" title="Lucky Dube">Lucky Dube</a> quite a scare.</p> <h3><span class="mw-headline" id="Bubblegum">Bubblegum</span></h3> <p><a href="http://en.wikipedia.org/wiki/Bubblegum_pop" title="Bubblegum pop">Bubblegum</a> was a form of pure South African pop music that arose in the middle of the 1980s, distinctively based on vocals with overlapping call-and-response vocals. Electronic keyboards and synthesizers were commonplace. Dan Tshanda of the band <a href="http://en.wikipedia.org/wiki/Splash_(band)" title="Splash (band)">Splash</a> was the first major bubblegum star, followed by Chicco Twala. Twala introduced some politically-oriented lyrics, such as "We Miss You Manelo" (a coded tribute to <a href="http://en.wikipedia.org/wiki/Nelson_Mandela" title="Nelson Mandela">Nelson Mandela</a>) and "Papa Stop the War", a collaboration with <a href="http://en.wikipedia.org/wiki/Mzwakhe_Mbuli" title="Mzwakhe Mbuli">Mzwakhe Mbuli</a>.</p> <p>The late 1980s saw the rise of <a href="http://en.wikipedia.org/wiki/Yvonne_Chaka_Chaka" title="Yvonne Chaka Chaka">Yvonne Chaka Chaka</a>, beginning with her 1984 hit "I'm In Love With a DJ", which was the first major hit for bubblegum. Her popularity rose into the 1990s, especially across the rest of Africa and into Europe. Chaka Chaka's first major rival was <a href="http://en.wikipedia.org/wiki/Brenda_Fassie" title="Brenda Fassie">Brenda Fassie</a>, whose popularity began with 1993's <i>Amagents</i>; since becoming embroiled in numerous scandals as well as drug problems before her death in 2004. <a href="http://en.wikipedia.org/wiki/Jabu_Khanyile" title="Jabu Khanyile">Jabu Khanyile</a>'s <a href="http://en.wikipedia.org/wiki/Bayete" title="Bayete">Bayete</a> and teen heart-throb Ringo have also become very popular.</p> <h3><span class="mw-headline" id="The_Vo.C3.ABlvry_movement">The Voëlvry movement</span></h3> <p><a href="http://en.wikipedia.org/wiki/Afrikaans" title="Afrikaans">Afrikaans</a>-language music saw a resurgence in the 1980s as the <i>Voëlvry</i> ("free as a bird" or "outlawed") movement reflected a new Afrikaans artistic counter-culture largely hostile to the values of the <a href="http://en.wikipedia.org/wiki/National_Party_(South_Africa)" title="National Party (South Africa)">National Party</a> and conservative Afrikanerdom. Spearheaded by the singer-songwriter <a href="http://en.wikipedia.org/wiki/Johannes_Kerkorrel" title="Johannes Kerkorrel">Johannes Kerkorrel</a> and his <i>Gereformeerde Blues Band</i>, the movement (which was named after Kerkorrel's 1989 regional tour) also included musicians <a href="http://en.wikipedia.org/wiki/Bernoldus_Niemand" title="Bernoldus Niemand" class="mw-redirect">Bernoldus Niemand</a> (aka James Phillips) and <a href="http://en.wikipedia.org/wiki/Koos_Kombuis" title="Koos Kombuis">Koos Kombuis</a>. Voëlvry tapped into a growing dissatisfaction with the Apartheid system amongst white Afrikaans speakers, and thus Voëlvry represents the musical branch of opposition that was paralleled by literature and the arts. For an overview of the context of Voëlvry, see Elbie Adendorff's article on www.litnet.co.za, "Die Voëlvry-beweging se groter konteks."</p> <h2><span class="mw-headline" id="The_1990s">The 1990s</span></h2> <h3><span class="mw-headline" id="New_rhythms">New rhythms</span></h3> <p>In 1994, South African media was liberalized and new musical styles arose. <a href="http://en.wikipedia.org/wiki/Prophets_of_Da_City" title="Prophets of Da City">Prophets of Da City</a> became known as a premier <a href="http://en.wikipedia.org/wiki/Hip_hop_music" title="Hip hop music">hip hop</a> crew, though a South Africanized style of hip hop known as <a href="http://en.wikipedia.org/wiki/Kwaito" title="Kwaito">kwaito</a> soon replaced actual hip hop groups. In kwaito, synthesizers and other electronic instruments are common, and slow jams adopted from <a href="http://en.wikipedia.org/wiki/Chicago_house" title="Chicago house">Chicago house</a> musicians like The Fingers, <a href="http://en.wikipedia.org/wiki/Tony_Humphries" title="Tony Humphries">Tony Humphries</a> and <a href="http://en.wikipedia.org/wiki/Robert_Owen" title="Robert Owen">Robert Owen</a> are also standard. Stars of kwaito include <a href="http://en.wikipedia.org/wiki/Trompies" title="Trompies">Trompies</a>, <a href="http://en.wikipedia.org/wiki/Bongo_Maffin" title="Bongo Maffin">Bongo Maffin</a> and <a href="http://en.wikipedia.org/wiki/Boom_Shaka" title="Boom Shaka">Boom Shaka</a>. The band <a href="http://en.wikipedia.org/wiki/Tree63" title="Tree63">Tree63</a> also emerged, first known for their hit single, "A Million Lights" and then further popularized by their version of Matt Redman's "Blessed Be Your Name".</p> <h3><span class="mw-headline" id="Gospel_2">Gospel</span></h3> <p>The biggest star of 1990s gospel was <a href="http://en.wikipedia.org/wiki/Rebecca_Malope" title="Rebecca Malope">Rebecca Malope</a>, whose 1995 album <i>Shwele Baba</i> was extremely popular. Malope continues to record, in addition to performers such as Lusanda Spiritual Group, Barorisi Ba Morena, Amadodana Ase Wesile, Vuyo Mokoena and International Pentacoastal Church Choir, <a href="http://en.wikipedia.org/wiki/Lundi" title="Lundi" class="mw-redirect">Lundi</a>, Joyous Celebration, and the upcoming Scent From Above who have performed in Botswana occasionally.In 2000's Deborah Fraser has emerged as the best selling Gospel artist.Her albums have been audited to be in Top 5 selling in the country.In her album Isililo,Debrah Fraser sang in all South African languages like Venda,Shangaan,Sotho,Zulu and Xhosa.The industry has also been joined by the likes of Hlengiwe Mhlaba(whose Aphendule is popular) and Solly Moholo. <b>:)</b></p> <h3><span class="mw-headline" id="Afrikaans_music_2">Afrikaans music</span></h3> <p>The period after 1994 saw a dramatic growth in the popularity of Afrikaans music. Numerous new young Afrikaans singers (soloists and groups) released CDs and DVDs and attracted large audiences at "kunstefeeste" (art festivals) such as the "<a href="http://en.wikipedia.org/wiki/Klein_Karoo_Nasionale_Kunstefees" title="Klein Karoo Nasionale Kunstefees">Klein Karoo Nasionale Kunstefees</a> - KKNK" in Oudtshoorn, "<a href="http://en.wikipedia.org/wiki/Aardklop" title="Aardklop">Aardklop</a>" in Potchefstroom and "Innibos" in Nelspruit.</p> <p>Apart from dozens of new songs being introduced into the Afrikaans music market, it became popular for modern young artists to sing old Afrikaans songs on a stage or in a pub, with crowds of young admirers singing along. The reason for the dramatic increase in the popularity of Afrikaans music can only be speculated about. One theory is that the end of Apartheid in 1994 also meant the end of the privileged position that the Afrikaans culture had in South Africa. After losing the privileged protection and promotion of the language and the culture by the State, the Afrikaans-speaking community seems to have spontaneously started embracing and developing their language and culture. This was due to pop artists like Steve Hofmeyr, <a href="http://en.wikipedia.org/wiki/N%C3%A1dine" title="Nádine">Nádine</a>, Kurt Darren, and Nicolis Louw bringing a new fresh sound in Afrikaans Music. Many of the songs sung and/or written by these artist are similar in sound to Euro dance music. Critics would claim that all an Afrikaans pop artist needs for a song to be popular is a catchy tune and an easy beat. This is due to the massive popularity of a form of couples dancing called "langarm" or "sokkie". The dance halls where this takes place could be considered as night clubs but they play almost exclusively Afrikaans pop music. The Afrikaans pop music market therefore generates tremendous demand for new material.</p> <h3><span class="mw-headline" id="Goth">Goth</span></h3> <p>South Africa's first <a href="http://en.wikipedia.org/wiki/Gothic_rock" title="Gothic rock">gothic rock</a> band was <a href="http://en.wikipedia.org/wiki/The_Awakening_(band)" title="The Awakening (band)">The Awakening</a>, formed in 1995 by vocalist, guitarist and producer <a href="http://en.wikipedia.org/wiki/Ashton_Nyte" title="Ashton Nyte">Ashton Nyte</a>. The band is credited in major national press as "South Africa's most successful Gothic Rock act and one of the top bands in the far broader Alternative scene" and headlined major national festivals throughout South Africa, including the country's largest music festival Woodstock, in addition to <a href="http://en.wikipedia.org/wiki/Oppikoppi" title="Oppikoppi">Oppikoppi</a> and RAMfest. With more than a dozen top ten national singles between 1998 and 2007, <a href="http://en.wikipedia.org/wiki/The_Awakening_(band)" title="The Awakening (band)">The Awakening</a> were the first goth-styled act to have major success in South Africa.</p> <h3><span class="mw-headline" id="Techno">Techno</span></h3> <p><table align="right" cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td><img src="../p/mazwai.jpg" width=263 height=245 border=0 alt="Thandiswa Mazwai"> <p><center><a href="http://www.thandiswa.co.za"><b>www.thandiswa.co.za</b></a> </td></tr> </table> The first South African live <a href="http://en.wikipedia.org/wiki/Techno" title="Techno">techno</a> bands were the Krafreaktor and The Kiwi Experience. Jay Sonton and Ruediger Keller from Krafreaktor and the Kiwi Experience performed at several raves, playing mainly electronic body music. Their music was mainly influenced by European artists, but included a unique South African touch. They mainly integrated African samples to localize their sound.</p> <h2><span class="mw-headline" id="The_2000s">The 2000s</span></h2> <h3><span class="mw-headline" id="Kwaito">Kwaito</span></h3> <div class="rellink relarticle mainarticle">Main article: <a href="http://en.wikipedia.org/wiki/Kwaito" title="Kwaito">Kwaito</a></div> <p>Kwaito is based on <a href="http://en.wikipedia.org/wiki/House_music" title="House music">house music</a> beats, but typically at a slower tempo and containing melodic and percussive African samples which are looped, deep basslines and often vocals, generally male, shouted or chanted rather than sung or rapped. Many consider it <a href="http://en.wikipedia.org/wiki/South_Africa" title="South Africa">South Africa</a>'s unique implementation of <a href="http://en.wikipedia.org/wiki/Hip_hop" title="Hip hop">hip hop</a>.</p> <h3><span class="mw-headline" id="Afrikaans">Afrikaans</span></h3> <p>In a resurgence that has been linked by some to freedom from <a href="http://en.wikipedia.org/wiki/Apartheid" title="Apartheid" class="mw-redirect">Apartheid</a> guilt, Afrikaans music saw a surge in new artists, album releases and sales after 2000. In 2004 an Afrikaans album (by balladeer <a href="http://en.wikipedia.org/wiki/Steve_Hofmeyr" title="Steve Hofmeyr">Steve Hofmeyr</a> was named best-selling album of the year. The massive purchasing power of the Afrikaner minority is partly to thank for this. In 2007 an Afrikaans song about <a href="http://en.wikipedia.org/wiki/Second_Boer_War" title="Second Boer War">Boer War</a> general <a href="http://en.wikipedia.org/wiki/Koos_de_la_Rey" title="Koos de la Rey">Koos de la Rey</a> by Bok van Blerk became a hit amid fierce debate on whether it represented a call to arms for the reinstatement of Afrikaner rule or just expressed cultural nostalgia. While the boom in the Afrikaans pop industry has continued from the previous decade as the popularity of the arts festivals and dance halls have stayed strong, other Afrikaans music genres experienced a revival of sorts in the new millenium. Rock and alternative Afrikaans music had stagnated somewhat after the heady days of the "Voelvry" tour and the alternative movement. Signs of a revival could be found in the arrival of <a href="http://en.wikipedia.org/wiki/Karen_Zoid" title="Karen Zoid">Karen Zoid</a> on the music scene with her attention grabbing alternative sound. Shortly after a band of young punk rockers arrived on the scene called "<a href="http://en.wikipedia.org/wiki/Fokofpolisiekar" title="Fokofpolisiekar">Fokofpolisiekar</a>". They were a revelation in that nobody had done punk rock in Afrikaans before. Their controversial name (translated as Fuck-off police-car), statements and behaviour certainly helped draw attention. This band certainly wasn't the only one to start the revival of Afrikaans Rock but they certainly seemed to be the symbol of it. Lead singer Francois Van Coke and songwriter Hunter Kennedy have gone on to explore other genres of music also not previously popular in Afrikaans and have found success. Shortly after the arrival of this and other rock acts, the first Afrikaans television music channel was opened which focused mainly on rock music. The Afrikaans (and English) rock and alternative music scene has been booming ever since. Bands like the industrial <a href="http://en.wikipedia.org/wiki/Battery9" title="Battery9" class="mw-redirect">Battery9</a>, Terminatrix, Nul, KOBUS and <a href="http://en.wikipedia.org/wiki/Thys_Nywerheid" title="Thys Nywerheid">Thys Nywerheid</a> continue to reinvent alternative Afrikaans music while acts like <a href="http://en.wikipedia.org/wiki/Die_Antwoord" title="Die Antwoord">Die Antwoord</a> and <a href="http://en.wikipedia.org/wiki/Jack_Parow" title="Jack Parow">Jack Parow</a> are taking the Afrikaans rap movement pioneered by Brasse van die Kaap to the next level.</p> <h3><span class="mw-headline" id="Drum_and_bass">Drum and bass</span></h3> <p>The South African <a href="http://en.wikipedia.org/wiki/Drum_and_bass" title="Drum and bass">drum and bass</a> scene began in the mid nineties. In 2000, events such as <a href="http://en.wikipedia.org/wiki/Homegrown_(drum_and_bass_event)" title="Homegrown (drum and bass event)">Homegrown</a> became a prominent fixture in <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town</a> and a launching platform for international and local artists such as <a href="http://en.wikipedia.org/wiki/Counterstrike_(drum_and_bass_group)" title="Counterstrike (drum and bass group)">Counterstrike</a>, <a href="http://en.wikipedia.org/wiki/DJ_SFR" title="DJ SFR">SFR</a>, Niskerone, Tasha Baxter, Anti Alias and Rudeone. Other regular events include It Came From The Jungle in <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town</a> and Science Friksun in <a href="http://en.wikipedia.org/wiki/Johannesburg" title="Johannesburg">Johannesburg</a>.</p> <p>A weekly Sublime <a href="http://en.wikipedia.org/wiki/Drum_and_bass" title="Drum and bass">drum and bass</a> radio show is hosted by Hyphen on <a href="http://en.wikipedia.org/wiki/Bush_Radio_(South_Africa)" title="Bush Radio (South Africa)">Bush Radio</a>.</p> <h3><span class="mw-headline" id="Psychedelic_trance">Psychedelic trance</span></h3> <div class="rellink relarticle mainarticle">Main article: <a href="http://en.wikipedia.org/wiki/South_African_psytrance" title="South African psytrance">South African psytrance</a></div> <p>South African psytrance is a form of darker <a href="http://en.wikipedia.org/wiki/Psychedelic_trance" title="Psychedelic trance">psychedelic trance</a> music that started and is produced mostly in <a href="http://en.wikipedia.org/wiki/South_Africa" title="South Africa">South Africa</a>. Unlike the Russian <a href="http://en.wikipedia.org/wiki/Dark_psytrance" title="Dark psytrance">dark psytrance</a>, South African psytrance is more rhythmic, melodic and danceable, yet keeps the 'nasty-like' attitude.</p> <h3><span class="mw-headline" id="Metal">Metal</span></h3> <p>Metal is rapidly growing in popularity in the country with thousands of supporters and musicians. Metal bands tour all over the country visiting many different metal clubs such as Tempo's, Asylum, Zeplins, Full Moon Alternative Loungue and The Doors in the <a href="http://en.wikipedia.org/wiki/Gauteng" title="Gauteng">Gauteng area</a>; Burn in <a href="http://en.wikipedia.org/wiki/Durban" title="Durban">Durban</a>; Gandalfs, The Eye Of Horus and Klein Libertas Theatre in the <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town area</a> and Jesters in <a href="http://en.wikipedia.org/wiki/Port_Elizabeth" title="Port Elizabeth">Port Elizabeth</a>. One of South Africa's bands originating from Edenvale, Autumn Sun, played in Bulgaria alongside <a href="http://en.wikipedia.org/wiki/Cradle_of_Filth" title="Cradle of Filth">Cradle of Filth</a>.</p> <p>Bands from the Gauteng area, in particlular MetalMorphosis, by far the top selling metal act globally - 45 differnt countries, leading the charge. Others include Agro, Mesadoth, New Found Disorder, Bile of Man, Where Martyrs Dare, Facing The Gallows, Still Black At Sunrise, Dangerous Dave on fire, Unforsaken Truth, Enemy Escape Route, The Dead Will Tell, ...and Chaos, Guns Go Bang!, Ingram, Red Helen, The Hammer of Redemption, Gun Down Goliath, Reason To Live, Chromium, Haggis And Bong, Knave, Kudegra, We Shall Embrace and Kill The Messenger;</p> <p>Hailing from Mpumalanga  The Secunda Knights  <a href="http://en.wikipedia.org/wiki/Riddare_av_Koden" title="Riddare av Koden">Riddare av Koden</a> and the Frail;</p> <p>From Durban - Contrast the Water, Theatre Runs Red, Beyond the Pale and Pledge Defiance;</p> <p>From Bloemfontein - Dieversion and Wintersoul;</p> <p>And all the way down south in the Cape Town area, Day Turns Night, <a href="http://en.wikipedia.org/wiki/Mind_Assault_(band)" title="Mind Assault (band)">Mind Assault</a>, A Walk With the Wicked, Azrail and Enmity. This list is in no means representative of the variety and number of bands active locally. <a href="http://www.metal4africa.com" class="external text" rel="nofollow">Metal4Africa</a> - <i>The global gateway to African Metal</i>, launched by two individuals from the <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town region</a>, has become a very respected name to all in the South African metal scene. In 2008 they released the first South African live compilation DVD, featuring the above mentioned Cape Town bands, as well as, Warthane, The Warinsane, Erebus, Contrast the Water and Betray The Emissary.</p> <p><table align="right" cellpadding=5 border=5 bgcolor="#ffebcd" bordercolor="#FFF2E6"> <tr><td><img src="../p/dana.jpg" width=320 height=238 border=0 alt="Simphiwe Dana"> <p><center><a href="http://www.simphiwedana.com"><b>www.simphiwedana.com</b></a> </td></tr> </table> The local metal scene generally follows the sounding genres of Deathcore, Screamo and Metalcore, which is discouraging to many people... Melodic Death Metal, Brutal Death Metal and Black Metal still have a decent following though. Metal is a rapidly growing music industry globally, and South Africa is not to be excluded.</p> <p>Afrikaans death metal deserves special mention. Following the success of Voice of Destruction in the 1990s, Francois Blom formed K.O.B.U.S., and a recent compilation, KOPSKOOT!, showcases some of the most prominent Afrikaans metal bands, such as Battery9, Van Coke Cartel, Terminatrix, Insek, Breinskade, and Nul.</p> <h2><span class="mw-headline" id="South_African_music_today">South African music today</span></h2> <p>The South African music scene has continued to flourish in the 2000s. The decade has seen the rise of Xhosa singer <a href="http://en.wikipedia.org/wiki/Simphiwe_Dana" title="Simphiwe Dana">Simphiwe Dana</a>, whose success has seen her hailed as the "new <a href="http://en.wikipedia.org/wiki/Miriam_Makeba" title="Miriam Makeba">Miriam Makeba</a>", with her unique combination of jazz, pop, and traditional music. Another similar young singer is <a href="http://en.wikipedia.org/wiki/Thandiswa_Mazwai" title="Thandiswa Mazwai">Thandiswa Mazwai</a>, originally a kwaito singer with <a href="http://en.wikipedia.org/wiki/Bongo_Maffin" title="Bongo Maffin">Bongo Maffin</a>. Thandiswa combined local hip-hop rhythms with traditional Xhosa sounds, creating a rich textured style. 2006 saw the rise of Shwi Nomtekhala, a duo combining <a href="http://en.wikipedia.org/wiki/Mbaqanga" title="Mbaqanga">mbaqanga</a> rhythms and <a href="http://en.wikipedia.org/wiki/Maskandi" title="Maskandi" class="mw-redirect">maskandi</a> sounds. The duo have become one of the most influential new acts on the music scene today, outselling even kwaito artists. Their debut album <i>Wangisiza Baba</i> was a major hit in the country. <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town</a> based female artist <a href="http://en.wikipedia.org/wiki/Verity_Price" title="Verity Price">Verity</a> has been recognized internationally for innovation in the music industry for selling 2000 copies of her album <a href="http://en.wikipedia.org/wiki/Journey_(Verity_album)" title="Journey (Verity album)">Journey</a> before it was actually recorded. Another up and coming group "2 and a Half Secondz" is on the rising from Delft in Cape Town in 2009.</p> <p><a href="http://en.wikipedia.org/wiki/Ladysmith_Black_Mambazo" title="Ladysmith Black Mambazo">Ladysmith Black Mambazo</a> remain one of the world's most popular choral groups and still retain popularity in South Africa, with their latest offering being the highly-praised <i><a href="http://en.wikipedia.org/wiki/Ilembe" title="Ilembe">Ilembe</a></i> (2007/2008). The legendary group boasts three grammy wins. The <a href="http://en.wikipedia.org/wiki/Mahotella_Queens" title="Mahotella Queens">Mahotella Queens</a> also remain high-selling, and - with the death of long-time groaner Mahlathini in 1999 - have recorded several new albums, including their 2007 release <i><a href="http://en.wikipedia.org/wiki/Siyadumisa_(Songs_of_Praise)" title="Siyadumisa (Songs of Praise)">Siyadumisa (Songs of Praise)</a></i>. 2008 has also seen the return of a former singer with the Mahotella Queens, Irene Mawela. Mawela appeared on thousands of mbaqanga and mgqashiyo recording sessions well throughout the 1960s and the 1970s, recording mainly for Gallo Record Company, often as part of the line-ups of the Mahotella Queens, the Mgababa Queens, Izintombi Zomgqashiyo, and also under her own name (though sometimes as Irene &amp; The Sweet Melodians, or Irene &amp; The Zebra Queens). In 1983 she left the company to record as a solo artist, with a successful Venda-traditional release <i>Khanani Yanga</i>. Mawela left the music business in the late 1980s, but returned in November 2007 with a brand new album called <i>Tlhokomela Sera</i>, which combines modern contemporary sounds with pure gospel music, making what Mawela calls "gospel jive".</p> <p>The music scene in South Africa is focused around 4 major areas, <a href="http://en.wikipedia.org/wiki/Johannesburg" title="Johannesburg">Johannesburg</a>, <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town</a>, <a href="http://en.wikipedia.org/wiki/Durban" title="Durban">Durban</a> and <a href="http://en.wikipedia.org/wiki/Bloemfontein" title="Bloemfontein">Bloemfontein</a>. One of the characteristics of the scene is the strong sense of community which sees artist, promoters and venues all actively involved in developing the local talent. <a href="http://en.wikipedia.org/wiki/Bloemfontein" title="Bloemfontein">Bloemfontein</a>'s music focus is centred predominantly around the metal and afrikaans genres. <a href="http://en.wikipedia.org/wiki/Johannesburg" title="Johannesburg">Johannesburg</a>, <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town</a> and <a href="http://en.wikipedia.org/wiki/Durban" title="Durban">Durban</a> are far more wide ranging in the genres of music covered by bands and artists. <a href="http://en.wikipedia.org/wiki/Cape_Town" title="Cape Town">Cape Town</a> is a hot bed for the underground music scene, generally held to be more experimental than the music produced in the other centres.</p> <p><img src="../p/fresh2.jpg" width=319 height=240 border=0 alt="Freshlyground" align=left hspace=10 vspace=10> The introduction of the <a href="http://en.wikipedia.org/wiki/South_African_Music_Awards" title="South African Music Awards">South African Music Awards</a> (SAMA), intended to recognise accomplishment in the South African recording industry has raised the awareness of local artists and bands. The awards are given in various categories, including album of the year, best newcomer, best artists (male and female) and the best duo or group. South African Music Award winners include <a href="http://en.wikipedia.org/wiki/Karen_Zoid" title="Karen Zoid">Karen Zoid</a>, <a href="http://en.wikipedia.org/wiki/Freshlyground" title="Freshlyground">Freshlyground</a>, Tasha Baxter and <a href="http://en.wikipedia.org/wiki/Seether" title="Seether">Seether</a>.</p> <p>South Africa has several annual music festivals including MotherFudd, <a href="http://en.wikipedia.org/wiki/Oppikoppi" title="Oppikoppi">Oppikoppi</a>, Rocking the Daisies and <a href="http://en.wikipedia.org/wiki/Splashy_Fen" title="Splashy Fen">Splashy Fen</a>. The music festivals cater to different genres and styles of music. Motherfudd is an exclusively metal festival held early in the year. The 2008 Motherfudd festival had a line up of 30 bands with 2 stages and took place near Hartebeespoort. The <a href="http://en.wikipedia.org/wiki/Oppikoppi" title="Oppikoppi">Oppikoppi</a> festival started in 1994 and is held in the <a href="http://en.wikipedia.org/wiki/Limpopo" title="Limpopo">Limpopo</a> Province of <a href="http://en.wikipedia.org/wiki/South_Africa" title="South Africa">South Africa</a>, near the mining town of Northam. Originally a rock festival, <a href="http://en.wikipedia.org/wiki/Oppikoppi" title="Oppikoppi">Oppikoppi</a> has expanded to include other genres. <a href="http://en.wikipedia.org/wiki/Splashy_Fen" title="Splashy Fen">Splashy Fen</a> is an annual Easter festival held on a farm near Underberg in <a href="http://en.wikipedia.org/wiki/KwaZulu-Natal" title="KwaZulu-Natal">KwaZulu-Natal</a>, with a focus on rock and reggae music. Rocking the Daisies is an annual music festival which is held outside Cape Town in Darling on the Cloof wine estate. It was established in 2005 with a focus upon rock music &amp; is a 'green' festival for which it has garnered awards.</p> <p>South Africa has a growing field of music journalism. Print based publications focussed on South African music are SAM (South African Music &amp; Entertainment tabloid), and South African Music News. Internet based journalism can be found on SAMusic.co.za, Speakerbox, Strum, The Rock Finder, More Than Music and Amplify.</p> <h2><span class="mw-headline" id="Neo-traditional_styles">Neo-traditional styles</span></h2> <p>Traditionally styled music is generally appellated as "Sotho-traditional" or "Zulu-traditional", and has been an important part of the South African music business since the 1930s. Vocal and <a href="http://en.wikipedia.org/wiki/Concertina" title="Concertina">concertina</a> records were released with a call-and-response style and a concertina used as a counterpoint to the lead vocal. Following World War 1, cheap imported concertinas arrived in South Africa, especially the Italian brand bastari.</p> <h3><span class="mw-headline" id="Sotho-traditional">Sotho-traditional</span></h3> <p><table align="right" width=280 bgcolor="#ffebcd" cellpadding=5 border=10 bordercolor="#FFF2E6"> <tr><td><font size=-1> <h2><span class="mw-headline" id="See_also">See also</span></h2> <ul> <li><a href="http://en.wikipedia.org/wiki/List_of_radio_stations_in_South_Africa" title="List of radio stations in South Africa">List of radio stations in South Africa</a></li> <li><a href="http://en.wikipedia.org/wiki/List_of_South_African_musicians" title="List of South African musicians">List of South African musicians</a></li> </ul> <h2><span class="mw-headline" id="Bibliography">Bibliography</span></h2> <ul> <li>Allingham, Rob. "Nation of Voice". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 638 657. Rough Guides Ltd, Penguin Books. <a href="http://en.wikipedia.org/wiki/Special:BookSources/1858286360" class="internal mw-magiclink-isbn">ISBN 1-85828-636-0</a></li> <li>Mthembu-Salter, Gregory. "Spirit of Africa". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 658 659. Rough Guides Ltd, Penguin Books. <a href="http://en.wikipedia.org/wiki/Special:BookSources/1858286360" class="internal mw-magiclink-isbn">ISBN 1-85828-636-0</a></li> <li>Allingham, Rob. "Hip Kings, Hip Queens". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 660 668. Rough Guides Ltd, Penguin Books. <a href="http://en.wikipedia.org/wiki/Special:BookSources/1858286360" class="internal mw-magiclink-isbn">ISBN 1-85828-636-0</a></li> </ul> <h2><span class="mw-headline" id="Further_reading">Further reading</span></h2> <ul> <li>Xulu, M.K., "The Re-emergence of Amahubo Songs, Styles and Ideas in Modern Zulu Musical Styles." PhD dissertation, <a href="http://en.wikipedia.org/wiki/University_of_Natal" title="University of Natal">University of Natal</a>. 1992</li> </ul> <h2><span class="mw-headline" id="External_links">External links</span></h2> <ul> <li><a href="http://www.overtone.co.za" class="external text" rel="nofollow">Overtone - The SA Bands,Music and Events Website</a></li> <li><a href="http://www.samusic.co.za" class="external text" rel="nofollow">SA Music website</a></li> </ul> </font> </td></tr> </table> The Sotho musician Tshwatlano Makala was the first traditional musician to achieve widespread commercial success. He helped to set the stage for the subsequent rise of Latsema Matsela's band, Basotho Dihoba, which used styles from his native <a href="http://en.wikipedia.org/wiki/Lesotho" title="Lesotho">Lesotho</a> to develop a genre called mohobelo.</p> <p>By the 1970s, the concertina of Sotho-traditional music was replaced with an accordion and an electric backing band. This wave of neo-traditional performers was led by Tau Oa Matsheha.</p> <h3><span class="mw-headline" id="Zulu-traditional">Zulu-traditional</span></h3> <p>The Zulu people adopted the guitar following its introduction by the Portuguese in the sixteenth century, and was locally and cheaply made by the 1930s. John Bhengu was the first major Zulu guitarist, earning a reputation in 1950s Durban for his unique <i>ukupika</i> style of picking (as opposed to traditional strumming). Bhengu's song format, which includes an instrumental introduction (<i>izihlabo</i>), a melody and spoken praise (<i>ukubonga</i>) for a clan or family, was widely used for a long time in Zulu-traditional music. Bhengu, however, switched to the electric guitar in the late 1960s and began recording as "Phuzushukela". His popularity exploded, and Zulu-traditional music entered a boom.</p> <p>Since the 1970s, the concertina has returned to Zulu-traditional music, while diverse influences from pop music and <a href="http://en.wikipedia.org/wiki/Drum_and_bass" title="Drum and bass">drum and bass</a> were added. Vusi Ximba's <i>Siyakudamisa</i> (1992) was perhaps the most memorable Zulu-traditional album of the later twentieth century, and drew controversy for racy, comedic lyrics.</p> <h3><span class="mw-headline" id="Tsonga-traditional">Tsonga-traditional</span></h3> <p>Tsonga traditional music was first recorded in the 1950s by Francisco Baloyi for Gallo, and showed a largely African style influenced by Latin rhythms. Mozambiquan musicians Fani Pfumo and Alexander Jafete became prominent studio performers in the 1950s and into the next decade, making a style called Portuguese Shangaan. In 1975, however, Mozambique became independent and a Shangaan radio station was opened by Radio Bantu, leading to the abandonment of Portuguese elements from this style.</p> <p>More modern Tsonga bands, such as General MD Shirinda &amp; the Gaza Sisters play a style called Tsonga disco, featuring a male lead vocalist backed by female singers, a guitar, keyboard or synth and disco rhythms. Thomas Chauke &amp; the Shinyori Sisters (Tusk Records) have become probably the best-selling band of any neo-traditional style. The most popular Tsonga musician, however, has arguably been either the pop singer <a href="http://en.wikipedia.org/wiki/Peta_Teanet" title="Peta Teanet">Peta Teanet</a> or the equally successful Penny Penny.</p> <h3><span class="mw-headline" id="Pedi-traditional">Pedi-traditional</span></h3> <p>Pedi-traditional music is principally harepa and is based on the <a href="http://en.wikipedia.org/wiki/Harp" title="Harp">harp</a>. The German <a href="http://en.wikipedia.org/wiki/Autoharp" title="Autoharp">autoharp</a> arrived in South Africa in the nineteenth century, brought by Lutheran ministers proselytizing among the Pedi. Harepa has not achieved much mainstream success in South Africa, though there was a brief boom in the 1970s, led by Johannes Mohlala.</p> <img src="../p/vuvu.jpg" border=0 width=320 height=224 alt="Vuvuzela" align=left hspace=10 vspace=10> <h3><span class="mw-headline" id="Venda-traditional">Venda-traditional</span></h3> <p>Venda-traditional music was also recorded when black music in South Africa was being recognised. The late 1960s (and, more significantly the late 1970s) saw a boom in Venda-speaking artists. This was mainly influenced by the launch of a Venda radio station.</p> <p>Irene Mawela (who had been singing in the 1960s and 1970s with groups like <a href="http://en.wikipedia.org/wiki/Mahotella_Queens" title="Mahotella Queens">Mahotella Queens</a>, Sweet Sixteens and the Dark City Sisters) made a huge mark in traditional and contemporary Venda music, despite vocal recordings in Zulu, Sotho and Xhosa languages. Mawela's 1983 release, <i>Khanani Yanga</i>, was one of the most successful Venda-traditional music albums of that year. After some lean years, Mawela returned to the South African music scene with <i>Tlhokomela Sera</i>, released in December 2007. Mawela's recent numbers like "Mme Anga Khotsi Anga" and "Nnditsheni" are very popular.</p> <p>Other artists include Ramavhea, Mundalamo, Eric Mukhese, and Adziambei Band. The latter band is still continuing with their successful run, after releasing another album recently, which was widely accepted. Having more than 20 years in the industry Colbert Mukwevho has done much in Venda music. In 80s his hits like <i>Kha tambe na thanga dzawe, i do nera rothe and saga-saga were exremely popular. In 2006 he proved his strength with the comeback of his album</i> Mulovha namusi na matshelo' hits like <i>ndo takala hani and zwa mutani wavho</i> remain very popular to Venda and Pedi's. Colbert enjoy the airplays of Phalaphala fm and huge support form his fans. He grew up in a family of music. His father Christopher Mukwevho then leader of Threlling Artist-the popular band used to feature him at young age. The tracks like <i>Mukhada</i> proved that Colbert was talented at young age. He is the father of the icon in making Percy Mukwevho.</p> <p><br clear=all> <table bgcolor="#ffebcd" align=center width=600 cellpadding=10 border=20 bordercolor="#FFF2E6"> <tr><td> <img src="../../35/p/wiki.jpg" width=128 height=96 border=1 alt="" align=right hspace=10> <img src="../../35/p/gnu.gif" width=100 height=98 border=1 alt="" align=left hspace=10> <font size=-1><i> From <a href="http://en.wikipedia.org">Wikipedia, the free encyclopedia</a> [<a href="http://en.wikipedia.org/wiki/Music_of_South_Africa">en.wikipedia.org/wiki/Music_of_South_Africa</a>].<br> All text is available under the terms of the <a href="http://en.wikipedia.org/wiki/GNU_FDL">GNU Free Documentation License</a>.<p> Date: June 2010. </i></font></td></tr> </table> <p><font size=-1><b>Photo Credits:</b><i> (1) FIFA 2010 logo, (3) <a href="http://www.mambazo.com">Ladysmith Black Mambazo</a>, (8) <a href="http://www.simphiwedana.com">Simphiwe Dana</a> (12) Wikipedia Logo (by <a href="http://en.wikipedia.org">Wikipedia</a>); (2) South African Flag, (5) <a href="http://en.wikipedia.org/wiki/Hugh_Masekela">Hugh Masekela</a>, (6) <a href="http://www.johnnyclegg.com">Johnny Clegg</a>, (7) <a href="http://www.thandiswa.co.za">Thandiswa Mazwai</a>, (10) <a href="http://en.wikipedia.org/wiki/Vuvuzela">Vuvuzela</a> (unknown); (4) <a href="http://www.miriammakeba.co.za">Miriam Makeba</a> (from website); (9) <a HREF="http://www.freshlyground.com">Freshlyground</a> (by Karsten Rube); (11) GNU Logo (by <a href="http://www.gnu.org/">GNU Project</a>). </i></font> <br><br> <hr color="#ff0000"> <p><table align="center" bgcolor="#ffebcd" cellpadding=20 border=5 bordercolor="#FFF2E6"> <tr><td> <p><center> <font size=4> <a HREF="index.html#up">Back to FolkWorld Content</a><br> <a HREF="../d/index.html#up">To the German FolkWorld</a> </font> </center> </td></tr> </table> <p> <font size=-1>&#169 <a HREF="../../fw/staff.html">The Mollis</a> - Editors of <font face="Maiandra GD">FolkWorld</font>; Published 07/2010</font> <p><FONT FACE="Arial" SIZE=-2>All material published in FolkWorld is &#169 The Author via FolkWorld. 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