As the sonic evolution unfolds, mbaqanga embraces regional hues, stretching from Johannesburg to KwaZulu-Natal. The Soul Brothers and the Makgona Tsohle Band infuse diverse artistry into rhythmic unity, while Miriam Makeba’s haunting echoes capture diasporic voices. Through the melodies of mbaqanga, South Africa’s rich heritage is painted in vibrant hues, each note navigating the roadmap of a nation’s past and present through the timeless language of music.
Cornmeal Porridge Tunes
The name “mbaqanga,” tracing back to a humble Zulu cornmeal porridge, mirrors its brimming ubiquity among Johannesburg’s township dwellers. The genre unfolds like a rich stew—a fusion of Zulu traditions and urban jazz notes. Instruments orbit between the electric and the acoustic, crafting a rhythm potent enough to pull the heartstrings while teasing the feet. Brass sections play jazz flirtations while basses syncopate, a carnival of physical expression.
The interplay between guitars and pennywhistles, the latter adding a mist of bygone days, echoes through a township gig. It presents a stage where Mahotella Queens, in full harmony, regale the senses. Their union with Simon ‘Mahlathini’ Nkabinde, the “Lion of Soweto,” has a way of creating folklore in real-time. His gritty, guttural groans cast a gravelly hook, long before “Burnout” by Sipho Mabuse emerges.
On Themes and Realities
The narratives of mbaqanga strike the chord of townships—love interlaced with joy, surfacing from deep wells of economic hardship. Delivered in Sotho or Xhosa, the lyrics echo aspirations and melancholy. “Umshado” becomes a daily anthem the way “Not Yet Uhuru” frames a political chant. Mzwakhe Mbuli, the poet of the people, elevates voice to mirror the tumultuous soul of South Africa, refusing perchance serenity in his vocal stylings.
Such themes embrace social responsibility, weaving political discourse into the fabric of everyday life. Meanwhile, Letta Mbulu allows notes to seep through history’s cracks, exploring ends and beginnings. Amakhamandela and performers alike lend a bridge to pain and promise, roaming the thin alleyways of expression within constraint and resilience.
Sonic Evolution
The plot thickens as mbaqanga metamorphoses over decades, toasting early notes that echo marabi and kwela’s revelry. Enter the 1960s, and the genre dips into American soul and R&B, crafting an aural brew for the South African identity. The Makgona Tsohle Band, likened to Motown’s Funk Brothers, backs many a star from Fifties to Seventies, adding riffs of collective sound to the mix. Miriam Makeba, with haunting echoes, captures the diaspora’s voices, with Amaswazi Emvelo trailing in her afterglow.
Regional Hues
While rooted in Johannesburg’s urban sprawl, mbaqanga’s tendrils stretch toward KwaZulu-Natal, embracing localized Zulu traditions. The landscape is not static—the genre hints at substyles, as much a reflection of a verdant rainbow nation. The Soul Brothers stand testament to this rhythm, threads of diverse artistry woven into rhythmic unity. KwaZulu-Natal appends ancestral depth, redefining the ebb and flow of township tempos.
And yet, the melody persists across evolving eras, quietly painting rich hues atop archival silences. With each note, mbaqanga navigates its roadmap through South Africa’s collective conscience, its heartbeat ever-present in the realm of living sound.
Tracklist :
Sipho Mabuse “Hotsticks” – Burnout
“Burn Out” is a 1984 township-jive pop single by Sipho “Hotstix” Mabuse, marking one of South Africa’s first crossover hits with over half a million copies sold.
It launched his international acclaim—leading to Virgin-issued releases in the UK, Germany, Japan, and the US—and remains his signature tune.
Curiously, Mabuse later recalled writing it in ten minutes, calling it a defining moment in his life.
Mahotella Queens – Umculo Kawupheli (1973)
“Umculo Kawupheli” (“The Music Never Ends”) is a 1973 single by the Mahotella Queens, featuring sun‑lit guitar rhythms and their signature close harmonies.
The song became a gold record in South Africa, selling over 25,000 copies and cementing their status in mbaqanga music.
Decades later, its melody reappeared—uncredited—in Bow Wow Wow’s 1981 track “Jungle Boy.”
Mahlathini & The Mahotella Queens – Mbaqanga (1991)
“Mbaqanga” is the title track of the 1991 album by Mahlathini & The Mahotella Queens, released on Verve World, rooted in the eponymous Zulu township jive style.
The album marked their return to traditional sounds, blending Simon “Mahlathini” Nkabinde’s signature deep “groan” with the Queens’ bright harmonies.
It earned critical praise for its dusty, rootsy feel and sparked a North American tour in 1992.