Maskandi

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Maskandi (also Maskanda) [1] is a form of Zulu folk music, originally associated with migrant workers, [1] that is evolving with South African society. Thought to be pioneered by Phuzushukela (John Bhengu). [2] Often characterised by a picking guitar style which draws on a variety of historical influences [3] it also has an important social function with players being given sanction to publicly criticise powerful people. [4]

Contents

Origins

The music originated in "female gourd-resonated monochord songs that were transferred and given an acoustic life on guitar". [5] The roots of what is today called maskandi have been traced back to non-guitar based forms of music in the 1920s, with the shift to guitar beginning in Rhodesia in the 1930s with a group of musicians inspired by the music in Western films. [6] It was then developed by migrant workers in South Africa. [7]

Gender

It has been described it as "The music played by the man on the move, the modern minstrel, today's troubadour. It is the music of the man walking the long miles to court a bride, or to meet with his Chief; a means of transport. It is the music of the man who sings of his real life experiences, his daily joys and sorrows, his observations of the world. It's the music of the man who's got the Zulu blues." [8]

Nowadays it is no longer just the exclusive domain of men and women, most notably the late Busi Mhlongo, have become prominent figures within the genre. [9]

Instrumentation and traditions

Maskandi is typically played on cheap, portable instruments, or modern instruments tuned or produced to imitate the polyphonic sounds of the old instruments. Traditionally, a Maskandi musician had one song, a long one that evolved as the story of the musician's life grew. Nowadays albums may contain the usual 10-14 tracks, some of which though may still be over the three-minute mark. Although there are several variations of Maskandi, the instrumental ensemble typically remains the same in all variations. This is deliberately done to keep the unique sound. When listening to Maskandi, these are the typical instruments to be heard:

Musical style

A traditional Maskandi song is distinguished by an instrumental flourish ("izihlabo"), typically played on the acoustic guitar or the concertina, that sets the tone at the beginning of each song. Izihlabo are also an introduction of sorts, and serve the purpose of allowing the guitarist to showcase/show off their level of skill by capturing the listeners' attention. Given that traditional Maskandi guitarists tune their guitars differently, listening to izihlabo also provides a way for the listener to tell with certainty the identity of the guitarist/band. Izihlabo are typically rapidly played notes, that do not necessarily make up a melody or explicit rhythm. Playing izihlabo can also be likened to an actor getting into character.[ citation needed ]

In a Maskandi song, there will typically be rapidly spoken sections of Zulu praise poetry, called "izibongo". The content is not always praise, though, and with pop, house and other influences colouring Maskandi, it has become more about the storytelling ethic and the modern migrant culture, than simply about the musical style. Another key element of Maskandi music is the lead singer's natural personality. In Maskandi music, it is not uncommon for songs to "sound the same", yet the music consumption does not necessarily decrease. Fundamentally Maskandi is about telling stories and providing a window to the lead singer's soul. It is largely about the message carried in the songs and music, and this is why it is considered the same as listening to soul or blues music.[ citation needed ] Early 2000s there was a new artist introduced called Mtshengiseni Gcwensa (late) who started music with his friend Mgqumeni Khumalo (late). They both introduced many styles in this industry which made upcoming artists look up to them.[ citation needed ]

Composer Darius Brubeck described the maskandi as "a performer of neo-traditional Zulu instrumental music. Etymologically the word derives from the Afrikaans musikante (musicians). KwaZulu Natal, a province of South Africa where I have lived and worked for the past decade, is home to literally thousands of 'Maskandis', who have developed a rich musical repertoire employing a special style of guitar playing." [10]

Prominent Maskandi Musicians

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References

  1. 1 2 Walking like a crab': Analyzing maskanda music in post-apartheid South Africa, Barbara Titus, Ethnomusicology, 2013
  2. Digital News, SABC (20 March 2019). "Maskandi artists ask govt to turn Phuzushukela's home into museum". SABC News. Archived from the original on 29 March 2024. Retrieved 8 April 2024.
  3. The music of Zulu immigrant workers in Johannesburg PAPERS PRESENTED AT THE SYMPOSIA ON ETHNOMUSICOLOGY 1ST SYMPOSIUM 1980, RHODES UNIVERSITY,Johnny Clegg
  4. The Guitar in Zulu "maskanda" Tradition, The World of Music, Vol. 32, No. 2, 1994, pp. 118-137
  5. Busi Mhlongo, South Africa's urban punk king, Nombuso Mathibela, Pan-African Music, 16 March 2022
  6. Maskandi 101, Cape Talk, Mmakgomo Tshetlo, 5 April 2017
  7. Walking like a crab': Analyzing maskanda music in post-apartheid South Africa, Barbara Titus, Ethnomusicology, 2013
  8. "ETHEKWINI ONLINE: The official site of Durban, South Africa - Zulu Contemporary". March 8, 2005. Archived from the original on 2005-03-08.
  9. Tolsi, Niren (15 May 2006). "Mhlongo Maskandi". Mail & Guardian. Archived from the original on 19 October 2021. Retrieved 8 April 2024.
  10. SAMRO (Southern African Music Rights Organisation) SCORES: Darius Brubeck-The Maskanda: 1992: ISBN   0869645870

Further reading Barbara Titus: Hearing Maskanda. Musical Epistemologies in South Africa (2022, Bloomsbury) https://www.bloomsbury.com/us/hearing-maskanda-9781501377785/