The music of South Africa exhibits a culturally varied musical heritage in conjunction with the multi-ethnic populace. Genres with the greatest international recognition being mbube, isicathamiya, mbaqanga, afrofusion, kwaito, South African pop music, afro house, South African hip-hop, Shangaan electro, bacardi house, bolo house, gqom and amapiano.
The country's most internationally recognised and prominent musicians include Solomon Linda, Miriam Makeba, Hugh Masekela, Stimela, Ladysmith Black Mambazo, Ray Phiri, Abdullah Ibrahim, Wouter Kellerman, Brenda Fassie, Seether, Die Antwoord, Jeremy Loops, Yvonne Chaka Chaka, Lucky Dube, Lebo M, Goldfish, Freshlyground, Black Coffee, Anatii, Zakes Bantwini, Master KG, Nomcebo Zikode, Nasty C, and Tyla.
Pre-20th-century history
Early records of music in South Africa as well as Southern Africa indicate a fusion of cultural traditions: African, European and Asian.Compare:
The early modern country musician Enoch Sontonga wrote the Southern African national anthem Nkosi Sikelel' iAfrika in 1897. By the end of the nineteenth century, South African cities such as Cape Town had grown large enough to attract foreign musicians, particularly American ragtime players. In the 1890s Orpheus McAdoo's Jubilee Singers popularised African-American spirituals.
Makwaya (meaning "choir") blended European hymnody with African-American spirituals and emphasized close harmony singing.
Marabi
The discovery of gold, diamonds and other minerals in South Africa during the late 1800s and early 1900s lead to a rapid urbanisation where Black people would leave their villages and move to the city/town so that they could work in the mines to earn a living. However, due to the Natives Land Act, 1913, black people were not allowed to own property even in the city, leading to slums (at that time, townships did not exist yet as they were created during Apartheid which began in 1948) where they could live.
Shebeens arose in the black community, because alcohol was sold and consumed secretly as black South Africans were forbidden from selling alcohol or entering licensed premises starting in 1927. Women resorted to using their traditional beer-brewing skills, learnt in rural areas, to produce and sell traditional beer (locally known as 'Umqombothi') to the new black urban class in these shebeens; hence they became known as "Shebeen Queens".
Eventually, these shebeens would provide a nightlife for people living in the slums, including mineworkers, as they were the only places where people were allowed to express themselves freely. At that time, jazz was the most popular style of music in the urban areas of South Africa, especially in these shebeens. Jazz fused with African traditional music, creating a new musical style and dance genre called "Marabi". By the end of the 1920s, marabi music had become wildly popular in the shebeens. Sophiatown, a vibrant multiracial suburb, was where this genre was pioneered.
Unfortunately, it had also gained a sordid reputation. Drug dealers, criminals, and prostitution were frequently associated with marabi music and marabi dance, which were already looked down upon by White South Africans; it was further shunned by the educated Black classes of South Africans as well.
Despite this, it continued to thrive in the townships around Johannesburg and other major cities. By the 1940s and the 1950s, Marabi was at its peak of popularity in South Africa, having created many stars such as Miriam Makeba, Dolly Rathebe, Hugh Masekela, and Abdullah Ibrahim that became very influential in the South African music scene.
Gospel
Christianity in South Africa was first introduced during the 1600s when Christian missionaries began arriving from the Netherlands. Missionaries from the United Kingdom, France, Germany, Scandinavia, and the United States began arriving in the early 1800s. Churches and missionary schools were built throughout the country. Native South Africans who were converted to Christianity were taught hymns that were sung in Europe and the US. Newly converted Christians would eventually compose new hymns in their own African languages. An example would be Enoch Sontonga, who composed Nkosi Sikelel' iAfrika.
In the early twentieth century, Zionist Christian churches spread across South Africa. They incorporated African musical elements into their gospel songs. South African gospel became popular in the 1990s, with artists such as Rebecca Malope and Lundi Tyamara. Gqom gospel emerged in the 21st century.
Neo-traditional styles Traditionally styled music is generally referred to as "Sotho-traditional" or "Zulu-traditional", and has been an essential part of the South African music business since the 1930s. Vocal and concertina records were released in a call-and-response style, with the concertina used as a counterpoint to the lead vocal. Following World War 1, cheap imported concertinas arrived in South Africa, especially the Italian brand Bastari.
Sotho-traditional The Sotho musician Tshwatlano Makala was the first traditional musician to achieve widespread commercial success. He helped set the stage for the subsequent rise of Letsema Mat'sela's band, Basotho Dihoba, which drew on styles from his native Lesotho to develop a genre known as mohobelo.
By the 1970s, the concertina in Sotho traditional music had been replaced by an accordion and an electric backing band. This wave of neo-traditional performers was led by Tau Ea Mat'sekha.
Zulu
The Zulu people adopted the guitar following its introduction by the Portuguese in the sixteenth century, and guitars were locally and cheaply made by the 1930s. John Bhengu was the first major Zulu guitarist, earning a reputation in 1950s Durban for his unique ukupika style of picking (as opposed to traditional strumming). Bhengu's song format, which includes an instrumental introduction (izihlabo), a melody, and spoken praise (ukubonga) for a clan or family, was widely used for a long time in Zulu-traditional music. Bhengu, however, switched to the electric guitar in the late 1960s and began recording as "Phuzushukela" (Sugar Drinker). His popularity surged, and Zulu-traditional music experienced a boom.
Since the 1970s, the concertina has reappeared in Zulu-traditional music, alongside diverse influences from pop music and drum and bass. Vusi Ximba's Siyakudamisa (1992) was perhaps the most memorable Zulu-traditional album of the late twentieth century and drew controversy for its racy, comedic lyrics.
Tsonga-traditional Tsonga traditional music was first recorded in the 1950s by Francisco Baloyi for Gallo, and showed a predominantly African style influenced by Latin rhythms. Mozambiquan musicians Fani Pfumo and Alexander Jafete became prominent studio performers in the 1950s and into the next decade. In 1975, however, Mozambique became independent, and Radio Bantu opened a radio station, leading to the abandonment of Portuguese elements in this style.
More modern Tsonga bands, such as General MD Shirinda & the Gaza Sisters play a style called Tsonga disco, featuring a male lead vocalist backed by female singers, a guitar, keyboard or synth, and disco rhythms. Thomas Chauke & the Shinyori Sisters (Tusk Records) have probably become the best-selling band in the neo-traditional style. George Maluleke and Van'wanati Sisters have also been instrumental in modernizing the music by experimenting with faster tempos and indigenous instruments. The most popular Tsonga musicians, however, have arguably been either Thomas Chauke, the pop singer Peta Teanet, or the equally successful Penny Penny, Joe Shirimani. Paul Ndlovu is another artist who has made significant contributions to this genre, with his popular hits Hi ta famba moyeni and Tsakane.
The modern sound of traditional Xitsonga music comprises more of the earlier native sounds that had initially been abandoned in favor of the Portuguese electronic guitars, namely the xylophone and bass marimba. Bands such as Thomas Chauke and the Xinyori Sisters, and George Maluleke predominantly used guitars; however, the modern sound has replaced these with xylophones or bass marimbas. The Tsonga people's preference for the xylophone and marimba type of sound is inherited from the timbila music of the Chopi people, which has been entered into the UNESCO heritage archives as a Masterpiece of the Oral and Intangible Heritage of Humanity.UNESCO , 2014, "Chopi Timbila" accessed 31 October 2017.
Pedi-traditional Pedi-traditional music is principally harepa and is based on the harp. The German autoharp arrived in South Africa in the nineteenth century, brought by Lutheran ministers proselytising among the Pedi. Harepa has not achieved much mainstream success in South Africa, though there was a brief boom in the 1970s, led by Johannes Mohlala and Sediya dipela Mokgwadi.
Venda-traditional
Venda-traditional music was also recorded when black music in South Africa was being recognised. The late 1960s (and, more significantly, the late 1970s) saw a boom in Venda-speaking artists. The launch of a Venda radio station mainly influenced this.
Irene Mawela (who had been singing in the 1960s and 1970s with groups like Mahotella Queens, Sweet Sixteens, and the Dark City Sisters) significantly impacted traditional and contemporary Venda music, despite vocal recordings in Zulu, Sotho, and Xhosa languages. Mawela's 1983 release, Khanani Yanga, was one of the most successful Venda-traditional music albums of that year. After some lean years, Mawela returned to the South African music scene with Tlhokomela Sera, released in December 2007. Mawela's recent songs, such as Mme Anga Khotsi Anga and Nnditsheni, are very popular. Solomon Matase is known for his hits Ntshavheni and Vho i fara Phele.
Alpheus Ramavhea, Mundalamo, Eric Mukhese, and Adziambei Band are also famous for their contributions to Venda music. The latter band continues to produce music with great success, including a recent album, Mutula Gole, released in February 2012. Colbert Mukwevho has been involved with Venda music for over 20 years, beginning with 1980s hits such as "Kha tambe na thanga dzawe", "i do nela rothe", and "saga-saga". In 2006, his comeback album Mulovha namusi na matshelo included the songs "Ndo takala hani" and "Zwa mutani wavho", which remain popular among Venda and Pedi audiences. He grew up in a musical family. His father, Christopher Mukwevho, then the leader of the popular band Thrilling Artist, featured him at a young age. Rudzani Shurflus Ragimana of Shurflus was well known for known for Venda reggae music together with Khakhathi and friends, Tshiganzha, Ntshenge. Artists widely perform reggae music for Tshivenda audiences.
Other performers include: Makhadzi, Fizzy, Prifix, Bhamba, Komrade Li, SubZro, TAKZIT, Humbulani Ramagwedzha, Jahman Chiganja, Khakhathi and Friends, Maduvha Madima, Takalani Mudau, Rapson Mbilummbi Rambuwani, TMan Gavini, Clean-G, Mizo Phyll, Killah Gee, Jininka, Paul Mulaudzi, Malondo Ramulongo, Burning Doctor, Just ice, Lufuno Dagada, and Tshidino Ndou.
Another singer making a name for himself in the South African music market is Tshidino Ndou, a reggae artist who is also the owner of Vhadino Entertainment music company. Tshidino was born and bred in Tshakhuma, a rural village in South Africa's Limpopo Province. So far, he has two albums, Ndi do fa na inwi (2009) (Till death do us part) and Nne Ndi Nne (2010) (I am what I am). His song "Ni songo nyadza" (meaning "do not undermine other people's religions"), featuring the Venda reggae icon Humbulani Ramagwedzha of Thivhulungiwi fame, is receiving extensive media exposure on Phalaphala FM, Soweto TV, Makhado FM, and Univen radio.