189:, "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
368:, 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.
81:
138:, 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.
204:
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
193:, 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
276:
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
261:", 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.
420:. 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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134:, which means 'walking softly', or 'tread carefully'. Isicathamiya contrasts with an earlier name for Zulu a cappella singing,
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768:
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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577:
University of
Transkei, South Africa. A Paper Prepared for the African Arts Education Conference 2001 in South Africa.
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231:, one of townships in Durban. The groups were allowed to perform two songs adhering to the competition formation.
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559:"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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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
Glebeland, in
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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
624:(2nd ed.). New York: Routledge Taylor and Francis Group.
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Nightsong: Power, Performance, and Practice in South Africa
117:, a South African ethnic group. In European understanding,
480:" melody, occasionally sing without instrumental backing.
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each group would be announced as they entered the hall.
444:– The song, with additional lyrics, is also known as "
448:") — this last having given its name, meaning
468:" and various Zulu hymns. "Mambazo" is the primary
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Origin: traditional music, culture and spirituality
55:
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37:
32:
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265:and Paulos Msimango formed an organization called
588:"Ladysmith Black Mambazo wins fifth Grammy award"
534:The Drumcafe's Traditional Music of South Africa
121:is also used to describe this form of singing.
113:) is a singing style that originated from the
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748:Social Dynamics: A Journal of African Studies
8:
730:. New York/Oxford: Oxford University Press.
402:The Western breakthrough for this style was
267:South African Traditional Music Association
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639:. California: ABC CLIO. pp. 125–126.
440:" (a song composed in 1939 by Zulu worker
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29:
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476:, who sing against an electric guitar "
412:(1986), which featured such tracks as "
310:) to open for Shabalala and his group.
513:from the original on October 11, 2019
314:Competition etiquette and formalities
241:and had the opportunity to work with
141:South African singing groups such as
97:
7:
499:"Zulu's 'Tip-Toe' Choir Competition"
149:Today, isicathamiya competitions in
666:. London: Routledge. p. 271.
497:Beaubien, Jason (April 22, 2004).
251:album which included two tracks, "
25:
680:from the original on 2023-07-31
185:which is expressed in the Zulu
705:. University of Chicago Press.
360:, however possess a different
259:Diamonds on Soles of her Shoes
1:
1428:South African styles of music
456:. "Mambazo" members are also
622:Focus: Music of South Africa
375:and isicathamiya composers.
336:ancestors and pray to them.
27:South African singing style
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536:. Jacana. pp. 62–63.
364:technique. The founder of
51:20th century, South Africa
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761:10.1080/02533950802280030
635:Muller, Carol A. (2004).
620:Muller, Carol A. (2008).
426:Knockin' on Heaven's Door
297:" to teach the audience.
60:
532:Levine, Laurie (2005).
446:The Lion Sleeps Tonight
418:Ladysmith Black Mambazo
366:Ladysmith Black Mambazo
239:Ladysmith Black Mambazo
223:Pre- and post-Ladysmith
216:Ladysmith Black Mambazo
143:Ladysmith Black Mambazo
99:[isikǀatʰamija]
85:Ladysmith Black Mambazo
18:Zulu a cappella singing
1357:Sudanese popular music
722:Erlmann, Veit (1999).
697:Erlmann, Veit (1995).
130:
87:
809:African popular music
660:Frith, Simon (2004).
507:National Public Radio
503:All Things Considered
458:born again Christians
398:Worldwide recognition
352:Style and composition
195:Empangeni Home Tigers
83:
521:– via NPR.org.
434:"The World in Union"
977:African heavy metal
770:University of Natal
598:on 11 December 2019
95:Zulu pronunciation:
1423:Singing techniques
464:in songs such as "
199:Brave Lion Singers
168:American minstrels
88:
1405:
1404:
737:978-0-19-512367-8
673:978-0-415-33270-5
566:portal.unesco.org
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38:Stylistic origins
16:(Redirected from
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212:Joseph Shabalala
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1258:Moroccan pop
1173:Kadongo Kamu
1153:Isicathamiya
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1096:Coupé-décalé
955:Zimdancehall
825:desert blues
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682:. Retrieved
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596:the original
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151:Johannesburg
148:
140:
123:
111:dental click
103:
102:, where the
91:Isicathamiya
90:
89:
65:Johannesburg
33:Isicathamiya
1004:Ambasse bey
921:Zenji flava
916:Bongo Flava
517:October 10,
183:communalism
115:Zulu people
1418:Zulu music
1412:Categories
1382:Ziglibithy
1228:Marrabenta
1213:Mahraganat
1076:Chimurenga
933:Zimbabwean
899:Senegalese
807:Genres of
684:2020-11-12
646:1576072762
543:1770090460
484:References
470:a cappella
404:Paul Simon
323:Dress code
308:concertina
243:Paul Simon
176:vaudeville
119:a cappella
1372:Wassoulou
1288:Palm-wine
1178:Kidandali
1086:Coladeira
1054:Cape jazz
1039:Bend-skin
1029:Bantowbol
989:Afro-soul
972:Afro-rock
967:Afrobeats
911:Tanzanian
884:Mauritian
710:Reality 7
452:, to the
422:Bob Dylan
409:Graceland
406:'s album
392:polyphony
331:Formation
248:Graceland
1273:Ndombolo
1263:Motswako
1243:Mbaqanga
1126:Highlife
1101:Edo Funk
1069:Moroccan
1064:Algerian
1024:Bajourou
999:Amapiano
962:Afrobeat
928:Togolese
894:Nigerien
889:Nigerian
879:Moroccan
874:Malawian
847:Ghanaian
837:Algerian
678:Archived
602:1 August
592:Enca.com
511:Archived
478:Mbaqanga
414:Homeless
384:falsetto
303:maskanda
295:Homeless
279:HIV/AIDS
254:Homeless
191:folklore
131:-cathama
1397:Zouglou
1392:Zoblazo
1367:Tabanka
1352:Soukous
1347:Singeli
1298:Raï'n'B
1283:Odi Pop
1218:Makossa
1208:Madiaba
1183:Kizomba
1148:Hiplife
1049:Bikutsi
1034:Batuque
982:Zamrock
852:Ivorian
842:Gambian
436:, and "
428:", the
346:i-steps
342:makwaya
257:" and "
245:on the
237:formed
172:ragtime
1362:Taarab
1337:Shaabi
1325:Seggae
1310:Salegy
1305:Sakara
1238:Mbalax
1233:Maloya
1223:Marabi
1203:Logobi
1193:Kwaito
1188:Kuduro
1111:Funaná
1059:Chaabi
1019:Azonto
1014:Assiko
950:Seggae
862:Boomba
857:Kenyan
734:
670:
643:
540:
432:theme
229:Umlazi
207:Dreams
187:dictum
155:Durban
108:tenuis
70:Durban
1377:Zaley
1332:Semba
1278:Njuup
1253:Morna
1248:Mbube
1198:Kwela
1158:Jaiva
1143:Hipco
1116:Gnawa
1044:Benga
1009:Apala
867:Genge
573:(PDF)
562:(PDF)
454:genre
438:Mbube
388:banjo
136:mbube
128:verb
42:Mbube
1320:Sega
1168:Jùjú
1121:Gqom
1106:Fuji
1081:Colá
994:Alté
732:ISBN
668:ISBN
641:ISBN
604:2018
538:ISBN
519:2019
450:lion
424:'s "
380:SATB
197:and
170:and
153:and
126:Zulu
1293:Raï
1163:Jit
757:doi
214:of
174:US
1414::
753:34
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612:^
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800:e
793:t
786:v
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104:c
93:(
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