178:, "umuntu, ngumuntu, ngabantu" , competition, strength and power associated with animals, reverence of the fireplace as a resource for food and warmth and, dreams for communicating with ancestors. The expression "umuntu, ngumuntu, ngabantu" which means "a person is a person because of other people", dominates Zulu social organization and is used as a tool to strengthen social harmony. In the Zulu community, competition is highly valued, especially with music, as it is seen as a social issue which is subject to competition. It is also perceived as a public platform in which people can establish a concept of identity in a community. Isicathamiya performers improve their image by winning competitions. In Zulu
357:, Joseph Shabalala, has said he composes when his body is sleeping and his spirit is at work. Typically the songs are written in response to what is troubling him at that moment. He strives to address troubling situations by composing a new song. These topics vary from love to politics and religious matters. The recurring theme is the social and political issues pertaining to life for black South Africans in KwaZulu-Natal, which burdened him greatly. Shabalala acknowledges the group used their music to educate the audiences they would encounter.
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127:, meaning 'lion'. The change in name marks a transition in the style of the music: traditionally, music described as mbube is sung loudly and powerfully, while isicathamiya focuses more on achieving a harmonious blend between the voices. The name also refers to the style's tightly choreographed dance moves that keep the singers on their toes.
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The fireplace is used metaphorically for the "cooking of songs" in isicathamiya stage performances. Emphasis is placed on the social organization based on the Zulu indigenous residence which took form in a circular bee-hive grass hut and at the center the head of surrounded by wives and children. The
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demonstrate this style. Isicathamiya choirs are traditionally all male. Its roots reach back before the turn of the 20th century, when numerous men left the homelands to search for work in the cities. As many of the tribesmen became urbanized, the style was forgotten through much of the 20th century.
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The change in venues allowed for variation in the basic theme of the competitions. A competition for the best dressed man was implemented and on occasion for the best dressed woman. Furthermore, all who registered to compete now paid a voluntary amount to the event conveners and the contribution of
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claimed he was inspired by dreams whereby, for six months in the 1960s, he was visited by voices. These were spiritual elders who were singing in the isicathamiya style. He experienced a final examination where each of the twenty-four elders asked him a musical question and
Shabalala achieved a
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Before the group enters the stage, there would be a moment of pre-performance prayer with the group gathered in a circle praying for spiritual guidance. This circle formation is reminiscent of the cattle enclosure of a Zulu village, a sacred space where the men could feel the presence of their
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The core of isicathamiya were the all-night choir competitions that took place during the weekends in
Johannesburg and Durban. Competitions were held all night long due to the number of choirs that would sign up at the start of the evening. Each choir had a group leader who was responsible for
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The isicathamiya groups enter the stage for the competition and start with the group standing in a semicircle with the leader in front of the group. The group faces the judges and audience. Usually the first song is sung with the group standing still under the instruction of the leader in a
182:, bulls are a common symbol of power and masculinity. Other wild animals such as snakes, crocodiles, tigers and lions are expressions of power relations and assertion of power in competitive isicathamiya competitions. Early isicathamiya groups were named after animals such as
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The level of interaction the group uses with the audience has grown vastly. Shabalala communicated with the audience beyond the musical and dance aspects. There was a shift in language usage, no longer restricted to Zulu, Shabalala would recite the words to
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Shabalala recognized the significance of his position on a global scale and would honor the community by conducting workshops for aspiring isicathamiya groups. Ladysmith Black
Mambazo addressed pressing issues in South African in the 1990s such as
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were an essential part of communicating with ancestors and formed part of a deeply rooted Zulu religious process. Some isicathamiya musicians claim some of their songs were created in the spiritual realm given to them by ancestors.
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Although the style exponentially emerged in the 20th century, specifically in the 1920s and 1930s, many academics argue it can be traced back to the end of the 19th century. They believe the roots of isicathamiya are found in the
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The isicathamiya groups dressed in suits, with white gloves, sparkling white shirts, shiny black shoes and red socks. The leader dressed in opposing colours from the group.
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group from South Africa to garner worldwide attention; all other widely known South
African musicians use some form of instrumental backing, though some groups such as the
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Shabalala shares how he learned to compose in the isicathamiya style; as it was through dreams where he heard voices from spiritual elders. This is common among Zulu
250:", which gained the group international recognition. The influence Joseph Shabalala had would change the context of isicathamiya in the late 20th century. Shabalala,
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to help reclaim isicathamiya as a form of traditional music. Competitions were no longer in hostels but at the YMCA in
Beatrice Street in the city center of Durban.
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troupes that toured South Africa extensively in 1860. Isicathamiya would have merged from a combination of minstrel inspired songs and Zulu traditional music.
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or piano as it was thought the instruments would appeal to the Black elite. A good isicathamiya performance includes call and response and multilayered vocal
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with their bodies synchronized to the rhythm of the song. At this point, the participants' girlfriends or wives would come up to support the group.
409:. The group itself has since gone on to enjoy great popularity and recognition, including songs such as "Hello My Baby" and also recordings of
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123:, which means 'walking softly', or 'tread carefully'. Isicathamiya contrasts with an earlier name for Zulu a cappella singing,
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757:
Xulu, M. K. (1992). "The Re-emergence of
Amahubo Songs, Styles and Ideas in Modern Zulu Musical Styles". PhD dissertation.
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take place on
Saturday nights, with up to 30 choirs performing from 8 o'clock at night to 8 o'clock the following morning.
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signing up the group and paying an entrance fee which would contribute to the monetary prize at the end of the evening.
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University of
Transkei, South Africa. A Paper Prepared for the African Arts Education Conference 2001 in South Africa.
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220:, one of townships in Durban. The groups were allowed to perform two songs adhering to the competition formation.
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548:"Zulu indigenous beliefs: to what extent do they influence the performance practices of isicathamiya musicians?"
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The leader of the group is often the founder and the composer. Often the migrant workers are not educated in
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same formation takes places when isicathamiya songs were created with the leader in the center of the group.
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Culturally and traditionally, isicathamiya is influenced by Zulu indigenous beliefs such as: belief in
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Gunner, Liz (2008). "City textualities: isicathamiya, reciprocities and voices from the streets".
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405:" and "Diamonds on the Soles of her Shoes", in which Simon was backed by the haunting voices of
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Shabalala continued to extend the boundaries of isicathamiya formalities by introducing Zulu
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Stylistically, isicathamiya is characterized by male voices performing a capella, with the
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In the 1980s, isicathamiya competitions were held in male hostels such as
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The word itself does not have a literal translation; it is derived from the
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and frequently demonstrate the close relationship between isicathamiya and
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Popular Music: critical concepts in media and cultural studies, Volume 4
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Music, Modernity, and the Global
Imagination: South Africa and the West
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formation (one leading voice, a tenor, followed by one soprano (
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South African Music: A Century of Traditions in Transformation
613:(2nd ed.). New York: Routledge Taylor and Francis Group.
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Nightsong: Power, Performance, and Practice in South Africa
106:, a South African ethnic group. In European understanding,
469:" melody, occasionally sing without instrumental backing.
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each group would be announced as they entered the hall.
433:– The song, with additional lyrics, is also known as "
437:") — this last having given its name, meaning
457:" and various Zulu hymns. "Mambazo" is the primary
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Origin: traditional music, culture and spirituality
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26:
21:
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254:and Paulos Msimango formed an organization called
577:"Ladysmith Black Mambazo wins fifth Grammy award"
523:The Drumcafe's Traditional Music of South Africa
110:is also used to describe this form of singing.
102:) is a singing style that originated from the
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737:Social Dynamics: A Journal of African Studies
8:
719:. New York/Oxford: Oxford University Press.
391:The Western breakthrough for this style was
256:South African Traditional Music Association
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628:. California: ABC CLIO. pp. 125–126.
429:" (a song composed in 1939 by Zulu worker
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465:, who sing against an electric guitar "
401:(1986), which featured such tracks as "
299:) to open for Shabalala and his group.
502:from the original on October 11, 2019
303:Competition etiquette and formalities
230:and had the opportunity to work with
130:South African singing groups such as
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488:"Zulu's 'Tip-Toe' Choir Competition"
138:Today, isicathamiya competitions in
655:. London: Routledge. p. 271.
486:Beaubien, Jason (April 22, 2004).
240:album which included two tracks, "
14:
669:from the original on 2023-07-31
174:which is expressed in the Zulu
694:. University of Chicago Press.
349:, however possess a different
248:Diamonds on Soles of her Shoes
1:
1417:South African styles of music
445:. "Mambazo" members are also
611:Focus: Music of South Africa
364:and isicathamiya composers.
325:ancestors and pray to them.
16:South African singing style
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525:. Jacana. pp. 62–63.
353:technique. The founder of
40:20th century, South Africa
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750:10.1080/02533950802280030
624:Muller, Carol A. (2004).
609:Muller, Carol A. (2008).
415:Knockin' on Heaven's Door
286:" to teach the audience.
49:
521:Levine, Laurie (2005).
435:The Lion Sleeps Tonight
407:Ladysmith Black Mambazo
355:Ladysmith Black Mambazo
228:Ladysmith Black Mambazo
212:Pre- and post-Ladysmith
205:Ladysmith Black Mambazo
132:Ladysmith Black Mambazo
88:[isikǀatʰamija]
74:Ladysmith Black Mambazo
1346:Sudanese popular music
711:Erlmann, Veit (1999).
686:Erlmann, Veit (1995).
119:
76:
798:African popular music
649:Frith, Simon (2004).
496:National Public Radio
492:All Things Considered
447:born again Christians
387:Worldwide recognition
341:Style and composition
184:Empangeni Home Tigers
72:
510:– via NPR.org.
423:"The World in Union"
966:African heavy metal
759:University of Natal
587:on 11 December 2019
84:Zulu pronunciation:
1412:Singing techniques
453:in songs such as "
188:Brave Lion Singers
157:American minstrels
77:
1394:
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726:978-0-19-512367-8
662:978-0-415-33270-5
555:portal.unesco.org
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27:Stylistic origins
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201:Joseph Shabalala
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1080:Congolese rumba
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821:African hip hop
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1247:Moroccan pop
1162:Kadongo Kamu
1142:Isicathamiya
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1085:Coupé-décalé
944:Zimdancehall
814:desert blues
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585:the original
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100:dental click
92:
91:, where the
80:Isicathamiya
79:
78:
54:Johannesburg
22:Isicathamiya
993:Ambasse bey
910:Zenji flava
905:Bongo Flava
506:October 10,
172:communalism
104:Zulu people
1407:Zulu music
1401:Categories
1371:Ziglibithy
1217:Marrabenta
1202:Mahraganat
1065:Chimurenga
922:Zimbabwean
888:Senegalese
796:Genres of
673:2020-11-12
635:1576072762
532:1770090460
473:References
459:a cappella
393:Paul Simon
312:Dress code
297:concertina
232:Paul Simon
165:vaudeville
108:a cappella
1361:Wassoulou
1277:Palm-wine
1167:Kidandali
1075:Coladeira
1043:Cape jazz
1028:Bend-skin
1018:Bantowbol
978:Afro-soul
961:Afro-rock
956:Afrobeats
900:Tanzanian
873:Mauritian
699:Reality 7
441:, to the
411:Bob Dylan
398:Graceland
395:'s album
381:polyphony
320:Formation
237:Graceland
1262:Ndombolo
1252:Motswako
1232:Mbaqanga
1115:Highlife
1090:Edo Funk
1058:Moroccan
1053:Algerian
1013:Bajourou
988:Amapiano
951:Afrobeat
917:Togolese
883:Nigerien
878:Nigerian
868:Moroccan
863:Malawian
836:Ghanaian
826:Algerian
667:Archived
591:1 August
581:Enca.com
500:Archived
467:Mbaqanga
403:Homeless
373:falsetto
292:maskanda
284:Homeless
268:HIV/AIDS
243:Homeless
180:folklore
120:-cathama
1386:Zouglou
1381:Zoblazo
1356:Tabanka
1341:Soukous
1336:Singeli
1287:Raï'n'B
1272:Odi Pop
1207:Makossa
1197:Madiaba
1172:Kizomba
1137:Hiplife
1038:Bikutsi
1023:Batuque
971:Zamrock
841:Ivorian
831:Gambian
425:, and "
417:", the
335:i-steps
331:makwaya
246:" and "
234:on the
226:formed
161:ragtime
1351:Taarab
1326:Shaabi
1314:Seggae
1299:Salegy
1294:Sakara
1227:Mbalax
1222:Maloya
1212:Marabi
1192:Logobi
1182:Kwaito
1177:Kuduro
1100:Funaná
1048:Chaabi
1008:Azonto
1003:Assiko
939:Seggae
851:Boomba
846:Kenyan
723:
659:
632:
529:
421:theme
218:Umlazi
196:Dreams
176:dictum
144:Durban
97:tenuis
59:Durban
1366:Zaley
1321:Semba
1267:Njuup
1242:Morna
1237:Mbube
1187:Kwela
1147:Jaiva
1132:Hipco
1105:Gnawa
1033:Benga
998:Apala
856:Genge
562:(PDF)
551:(PDF)
443:genre
427:Mbube
377:banjo
125:mbube
117:verb
31:Mbube
1309:Sega
1157:Jùjú
1110:Gqom
1095:Fuji
1070:Colá
983:Alté
721:ISBN
657:ISBN
630:ISBN
593:2018
527:ISBN
508:2019
439:lion
413:'s "
369:SATB
186:and
159:and
142:and
115:Zulu
1282:Raï
1152:Jit
746:doi
203:of
163:US
1403::
742:34
740:.
665:.
601:^
579:.
553:.
498:.
494:.
490:.
383:.
278:.
190:.
789:e
782:t
775:v
761:.
752:.
748::
729:.
676:.
638:.
595:.
535:.
282:"
93:c
82:(
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