[1] [2] Dizu Plaatjies (born 5 February 1959, Lusikisiki, Pondoland, South Africa) is a Xhosa musician best known for being the founder and former leader of the South African group, Amampondo. [2] He is a graduate of the South African College of Music, University of Cape Town where he lectures in African Music. [3]
Plaatjies started the percussion group Amampondo during the late 1970s. The group began with making music on the streets, but achieved international fame in the 1980s. The climax for the group was performing at the Wembley Stadium during the Nelson Mandela 70th Birthday Tribute. The stage was set for Amamondo to conquer the world, and they had already been booked for a world tour, but the anti-apartheid campaign in exile from South Africa banned their performances for the next four years. During these difficult years, he received support from the Scandinavian countries. [4]
Since leaving Amampondo Plaatjies has started a new ensemble called Ibuyambo. [1] Dizu and the new group have presented numerous shows in a number of European countries, and perform regularly in South Africa.
Plaatjies is the son of an African traditional healer and late lady teacher Ntombiza, has himself been initiated in the Xhosa/Pondo tribal tradition. His interest in African percussion music has taken him to numerous countries on the continent with the result that he now owns a substantial collection of handmade musical instruments from sub-Saharan Africa. His latest recordings, made for the label Mountain Records, are titled Ibuyambo (2005), African Kings (2008) and Ubuntu — The Common String (2015), and illustrate this knowledge and interest. The last two releases won him SAMA Awards.
He was married to his partner Vuyo Mbewu on 27 September 2008. The couple have two children Ukwanda and Azile. Plaatjies has 4 children.
A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater including attached or enclosed beaters or rattles struck, scraped or rubbed by hand or struck against another similar instrument. Excluding zoomusicological instruments and the human voice, the percussion family is believed to include the oldest musical instruments. In spite of being a very common term to designate instruments, and to relate them to their players, the percussionists, percussion is not a systematic classificatory category of instruments, as described by the scientific field of organology. It is shown below that percussion instruments may belong to the organological classes of idiophone, membranophone, aerophone and cordophone.
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The marimba is a musical instrument in the percussion family that consists of wooden bars that are struck by mallets. Below each bar is a resonator pipe that amplifies particular harmonics of its sound. Compared to the xylophone, the marimba has a lower range. Typically, the bars of a marimba are arranged chromatically, like the keys of a piano. The marimba is a type of idiophone.
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In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. The beats and sounds of the drum are used in communication as well as in cultural expression.
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Amampondo is a South African percussion ensemble that was started by Dizu Plaatjies in Langa, Cape Town in 1979. The name in Mpondo means people of Mpondo or Pondoland, a kingdom in the Eastern Cape where most of the band's members grew up. The other founding members were Simpiwe Matole; Michael Ludonga; Mzwandile Qotoyi; Leo Mbizela and Mandla Lande. National Geographic called them "one of the most interesting and experimental groups in South Africa".
Andrew John Preston "Andi" Spicer was an English electroacoustic classical music composer who used electronics in his compositions.
Michael Blake is a South African contemporary classical music composer and performer. He studied in Johannesburg in the 1970s and was associated with conceptual art and the emergence of an indigenous experimental music aesthetic. In 1976 he embarked on 'African Journal', a series of pieces for Western instruments that drew on his studies of traditional African music and aesthetics, which continued to expand during two decades in London until he returned to South Africa in 1998. From around 2000 African music becomes less explicit on the surface of his compositions, but elements of rhythm and repetition remain as part of a more postcolonial engagement with material and form. He works in a range of styles including minimalism and collage, and now also forages for source material from the entire musical canon.
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